DAINTY WORK 



t^o:ei. 



PLEASURE « PROFIT 



ADDIE E. HERON 



EDITOR OF " HOME ART," A JOURNAL DEVOTED TO INTERIOR DECORATION 



AND AUTHOR OF 



■ DRCORATIVK ART," PRACTICAL LESSONS ON SHADING, NEEDLEWORK SOUVENIR, SERIES ON ART 

EMBROIDERY," "BLOSSOM CLOVERLY," A TEMPERANCE STORY, " WON, BUT NOT WOOED," 

"how I FURNISHED MY PARLOR," " THE CHELTENHAM GIRLS," " THE 

LITTLE TRESPASSER," "OUTWITTING THE BOYS," "sTORMING 

THE CASTLE," "dAISY, DOT AND DIMPLE," 

AND OTHER STORIES. 



«^-. 



PUBLISHERS : 
DANKS & CO. 

CHICAGO. 



\ .- X 









Entered according to Act of Congress in the year iSgi, by 

BANKS & CO., 
In the Office of the Librarian of Congress, at Washington. 



TO 

MRS. POTTER PALMER, 

PRESIDENT BOARD OF LADY MANAGERS 

OF THE 

"WOLRD's COLUMBIAN EXPOSITION" 

THIS BOOK IS RESPECTFULLY DEDICATED BY SPECIAL PERMISSION. 



PREFACE. 

The publishers of " Dainty Work for Pleasure and Profit, " in issuing a 
work of such importance to women have considered it only just that the 
book should be dedicated to the most representative American woman of 
the day. That woman is unquestionably the President of the Board of 
Lady Managers of the World's Columbian Exposition, Mrs. Potter Palmer 
— a woman of the highest social distinction, possessed of all the gracious 
attributes of true womanhood, honored by the nation and beloved by all 
who know her. The dedication is made by special permission. 



ILLUSTRATIONS. 



t J-G. PP. 

Devonshire cloth 1-12 

Embroidery frame 2-15 

" " .. 3-16 

Embroidery hoop 4- 17 

Embroidery scissors 5-18 

Work apron 6-18 

Pantagraph , 7-28 

Stem stitch 8-28 

Three outline stitches 9-28 

Fancy chain 10-20 

Loop outline 11- 29 

Kensington stitch, detail . 12- 30 

Kensington stitch 13- 30 

Short and long stitch 14- 31 

Satin stitch, detail 15-32 

Satin stitch 16-32 

Satin stitch 17-32 

Buttonhole stitch. 18-33 

Buttonhole edge 19-33 

Buttonhole and spot stitch 20- 33 

Antique embroidery 21- 34 

Persian embroidery 22- 34 

French knot 23-34 

Couching outline 24- 35 

Couching groups 25- 35 

Hem stitching 26-36 

Spanish laid "Work 27- 37 

Diamond couching 28- 38 

Fancy couching 29- 38 

Fancy couching 30- 38 

Brick stitch.. 31-40 

Honey comb stitch 32- 40 

Honey comb applied 33- 40 

Simple star 34- 41 

Daisy star 35- 41 

Crows' feet 38- 41 

Grouped star stitch 37- 41 

Grouped star stitch No. 2 38- 41 

Darning stitch 39- 42 

Cushion 40-42 

Janina stitch 41- 42 

Janina stitch close. 42- 43 

Single basket stitch 43- 44 

Double and close basket stitch 44- 44 

D'Alencon bars 45- 45 

Spider wheel 46- 46 



FIG. PP. 

Grape vine applique. ... 51- 53 

Design in Kensington stitch 52- 54 

Flower head rest 53- 55 

Branch of cherries, filling stitches 54- 56 

Poppy correctly shaded No, 1 55- 63 

Poppy correctly shaded No. 2 56- 63 

Poppy correctly shaded No. 3 57- 64 

Roman embroidery design 58- 69 

detail 59- 69 

Lunch cloth 61-74 

Napkin 62- 75 

Doyley 63-75 

Carving cloth 64- 75 

Tray cloth 65- 76 

Daisy center cloth , 66- 77 

Geranium center cloth 67- 78 

doyley 68-78 

Cruel mat, leaf shape 69- 79 

Set vegetable mats 70- 79 

Coifee cozy 71- 80 

Garaflfe mat 72-80 

Sideboard scarf 73-81 

Dresser scarf, Roman emb". design 74- 83 

Toilet bottle 75-84 

" 76-84 

Toilet cushions 77- 84 

Poppy for pillow sham 78- 85 

" 79- 85 

Leaf for pillow shams 80- 86 

Splashers 81-87 

Leaf -bordered lunch cloth 82- 88 

Dresser scarfs 83- 89 

" 84-90 

Clover doyley 85- 91 

Snowdrop doyley 86- 92 

Dresden doyleys 87- 94 

Grape vine center cloth 88- 96 

Cherry center cloth 89-96 

Scroll border 90-98 

Floral center cloth 91- 99 

Dresden book cover 92-100 

Conventional book cover 93-100 

Round cushion 94-101 

Cross stitch design 95-102 

Tablecover 96-103 

Stand cover 97-104 



ILLUSTKATIONS. 



FIG. PP. 

Pointdepriv 47-46 

Rosettestitch 48-47 

Spot and daisj'' loop 49- 51 

Combination leaf border 50- 52 

nandkerchief corner 102-109 

Butterfly design 103-109 

Edge for collar and cuffs 104-110 

Scallop edge 105-111 

Corner of scallop 106-1 1 1 

Daisy design 107-111 

Scallop corner 108-112 

Deep scallop 109-112 

Flannel scallop 110-112 

Infant's shawl 111-113 

Cross for altar front 112-116 

Jeweled border 113-118 

Raised basket couching 114-119 

Raised basket couching 115-119 

Wavy couching 116-120 

Battlemeuted couching 117-12o 

Brick flat couching 118-120 

Plain brick couching 119-1-iil 

Broad couching 120-121 

Diamond couching 121-121 

Plain flat couching 122-121 

Plain flat couching 123-122 

Bullion knot 124-122 

Detail of couched design 125-123 

Detail of couched design 126-124 

Detail of long stitch design 127-125 

Conventional fleur de lis 128-126 

Design for chausable 129-127 

Ecclesiastical design 130-128 

Triangle for ecclesiastical work 131-130 

Circles for ecclesiastical work 132-130 

Latin cross and anchor work 133-131 

Greek cross 134-131 

Bullion monograms 135-132 

Letters 136-132 

Banner 137-133 

Border, jeweled 138-133 

Easter banner 139-134 

Easter banner 140-135 

Bleeding heart, The 141-130 

Passion flowers 142-137 

Dragon border 143-140 

Ea.5y chair 144-141 

Cross stitch design 145-142 

Cross stitch design 146-143 

Long cross stitch 147-143 

Persian cross .148-144 

German stitch 149-144 

Tapestry stitch 150-144 

Dou1)le Leviathan stitch 151-1 ^15 



FIG. pp. 

Darning stitch .-';... 98-104 

Darned background 99-105 

Screens 100-106 

Applique on net 101-108 

Trent stitch 152-146 

Satin stitch 153-147 

Cross and long stitch 154-147 

Raised Calla lily 155-159 

Raised Japan lily 156-160 

Raised coxcomb and sumac 157-164 

Raised thistles and golden rod 158-166 

Flat thistles for cover 159-166 

Raised snow balls 160-167 

Raised cotton plant. ... 161-171 

Pattern for cotton plant 162-172 

Memorandum card case 163-176 

Bouquet holder 164-177 

Invalid's writing board .165-178 

Foot stool 166-178 

Paper stand 167-179 

Pattern for decoration of shoe box 168-180 

Covered shoe box 169-180 

Sunflower pin cushion 170-181 

Folding work basket 171-182 

Hair-pin holder 172-182 

Puff toilet cushion 1*3-183 

Round toilet cushion^ 174-183 

Chair seat 175-184 

Chair back 176-184 

Lamp shade 177-185 

Wall pocket 178-185 

Bolster, covered 179-186 

Infant's pillow 180-186 

Detail of handkerchief ca^e 181-187 

Handkerchief case 182-187 

Double photograph case 183-188 

Single photograph case 184-188 

Night-dress sachet 185-189 

Pansy sachet 186-189 

Puff head rest 187-190 

Decorated egg shell 188-190 

Pansy sachet 189-191 

Mending bag 190-191 

Ornamental holders 191-192 

Paper holders 192-193 

Handkerchief sachets 193-194 

Fancy table 194-194 

Sunflower pen-wipe 195-195 

Sofa cushion 196-195 

Linen covered cushion 197-196 

Forget-me-not toilet cushion 198-196 

Fancy work basket 199-197 

Spanish foot-rest 200-197 

Ottoman cushion 201-198 



ILLUSTRATIONS. 



in 



FIG. pp. 

Ottoman cushion 202-198 

Owl shaving case 203-199 

Laundry bag 204-200 

Pum ;kin toilet cushion 205-201 

Photograph frame 206-202 

Photograph envelope 207-203 

Pin trays 20S-208 

Glass handkerchief box 209-204 

Eiffel Tower scrap bag 210-205 

Handy bag 211-207 

Square toilet cushion 212-210 

Emery cushion 213-211 

Artificial butterfles 214-212 

Music stand 215-213 

Scissors case 216-214 

Crawling rug 217-215 

Rosedo^ley 218-216 

Magnolia doy>y 219-217 

Center mat 220-218 

Centerpiece 221-219 

Fruit plate doyley 222-220 

Shoe box 223-221 

Burnt match holder 224-222 

Pilgrim toilet cushion 225-222 

New Eogland footstool 226-223 

Child's chair 227-224 

Catch-all 228-224 

Head rest 229-225 

Hanging pin cushion 230-226 

Fruit pin cushion 231-226 

Fruit pin cushion 232-227 

Infant's crib coverlet 233-228 

Cross stitch table cover 234-228 

Detail cross stitch 235-229 

Chicken pen-wipe 236-230 

Branch of fruit 237-231 

Ladies' dust cap 238-231 

Sachet bags — crepe paper 239-232 

Tobacco pouch 240-232 

Tobacco pouch 241-233 

Leaf pen wipes 242-233 

Traveling case 243-234 

Child's chair 244-234 

Water lily caraffe mat 245-235 

Needle case 246-235 

Netdle case, closed 247-236 

Pocket needle case 248-236 

Kmsiugton cushion cover 249-237 

Nasturtium cushion 250-238 

Infant'.^ toilet case. . 251-239 



PIO. PI'. 

Drawn work in frame 252-241 

Prepared corner 253-243 

Prepared corner 254-242 

Four corners prepared 255-243 

Hemstitching 256-243 

Duck's tail sUtch 257-244 

Hemstitching, No. 2 258-244 

Hemstitching, No. 3 259-244 

Block insertion 260-248 

Detail a. b. of 260-248 

Insertion of border 261-249 

Detail a. b. c. d. e. f. of 261, 250-251 

Cross bord r 262-250 

Basket insertion 283-247 

Lunch c'.oth with corner and border 264-246 

Details of 264— a. b. c. d. e 246-247 

Block border 265-252 

Cut-in corner 266-253 

Pattern to fill cut-in corner 267-246 

All-over design for drawn work 268-253 

Detail of 268-253 

Brussels point filling 269-254 

Antique border and corner 270-255 

Toilet set, cushion and bottles 271-261 

Details of a. and b of 271-261 

Handkerchief sachet, glasseine 272-263 

Glass panel screen 273-273 

Chamois tolacco pouch 271-287 

Glasseine toilet set. 275-290 

Details of a. and b. of 275-290 

Parchment parasol catch 276-293 

Traveling bag 277-3C7 

Duster case 278-307 

Calendar 279-308 

Plate 1, lace braid 310 

Plate 2, lace stitches 312 

Plate 3, lace stitches 314 

Plate 4, lac J stitches 316 

Handkerchief center 313 

Handkerchief square 313 

Lace collar 319 

Lace insertion 320 

Detail of crocheted dress for child 280-328 

Detail of crocheted dre.ss f. r chi:d 281-328 

Detail of crocheted dress for child. 282-3C9 

Croche:ed dress for child 282-4-330 

Knitted purse 285-C30 

Baby's sacque 286-331 

Lady's vest 287-334 

Baby's crocheted hood 288-338 



ILLUSTRATIONS. 



FIG. pp. 

Fancy spool bag 289-339 

Fringe 290-340 

Pine apple edge. 291-341 

I nsertion, crochet 292-342 

Border, crochet 293-343 

Trimming crochet ■ .291-344 

Square for counterpane 298-345 

Wheels, crochet 296-347 

Toilet mat 297-348 

Edging, crochet ?298-349 

Diamond edging 299-351 

Fern edging 300-353 

Crochet trimming 301-354 

Narrow edging, crochet 302-355 

Broad edging 303-356 

Narrow coral edging .304-357 

Table cover crocheted insertion 305-360 

Reticule crochet 306-358 

Crocheted petticoat, for child 307-361 

Crocheted petticoat, for child 308-361 

Crocheted petticoat, for child detail. 309-362 

Crochet tassels detail 310-363 

Daisy crochet lace 311-365 

Guipure crocheted lace 312-366 

Detail crocheted table cover 313-368 

Edge for table cover 314-309 

Crocheted tabic (over 315-370 

Ladie'sskirt 8:6-372 

Crochet braid trimming 317-373 

Infant's knitted jacket 318-375 

Moss edging 319-376 

Fern edging 320-376 

French edging 321-376 

Serpentine braid edge 322-376 

Fancy crotchet edge, No. 1 325-377 

Edging, No. 2 324-377 

Shell trimming 325-377 

Palm trimming 326-378 

Knitted hood 327-379 

Knitted hood, detail of 328-380 



FIG. PV. 

Knitted hood, detail of 329-381 

Knitted hood for child 330-381 

Knitted hood, detail of 331-382 

Pillow sham, crocheted 332-383 

Crocheted table mats 333-385 

Crocheted wheels 334-390 

Child's petticoat 335-392 

Crocheted border 336-393 

Ladies crocheted skirt 337-394 

Infant's knitted bodice 338-896 

Crocheted dust mop 339-397 

58 

70 

114 

138 

141 

148 

150 

154 

158 

, 174 

210 

212 

214 

216 

246 

247 

294 

298 

302 

306 

322 

324 

430 

433 



Group of head rests 

Roman embroidery 

Corner mantel. 

Table doyley and drape 

Picture and easel drape 

Bedspreads and pillow shams. 

Louis XIV design 

Cover for library table 

Calla lily working design 

Caraffe mat 

Point lace braids, plate 1 

Point lace stitches, plate 2. . . . 

Point lace stitches, plate 3 

Point lace stitches, plate 4 . . 

Drawn work 

Drawu work 

Window drapery 

Portierres 

Mantel drapery 

Easel drape 

Maple leaf doyley 

Magnolia doyley 

Dresden doyley 

Table cover 



COLORED PLATES. 

Fleur de lis 

Oranges 

Poppies 

Oak leaves, sumac and golden rod. 



INDEX. 



PAGE. 

Introduction 6-8 

Materials. 

Linen crash 

Bleached linen 

Domestic linen 

Bolton sheeting 

Colored art linen 

Huck-a-buck 

Linen Bolton sheeting 

Art satin 

Butcher's linen 

Scrim 

Morris cloth 

Frieze 

Concordia canvas 

Egyptian cloth 

Turkish crepe 

Satin damask 

Gobelin cloth 

Russian crash 

Hollywood drapery 

Devonshire art cloth 

Bolting silk 

Silks 

Velvets and plushes 

Felt 

Satin 

Banner Silk 

Upholsterer's plush and satin 

Sateen 

Russian tapestry 

Basket silk 

Mail cloth 

India Silk 

Double-faced sateen 9-14 

Implements and Embroidery Threads 

Crewels 

Zephyr 

Tapestry wool 

Arrasenes 

Chenille 



Smyrnasene 

Ribbosene 

Featherasene 

Embroidery cotton 

Embroidery wash silks 

Couching silk 

Art cord 

Real Scotch threads 

Tyrol cord 

German cord 15-20 

Transferring and Stamping Designs. 21 

Tracing paper 22 

Perforated patterns . 23 

Materials for stamping 24 

Direci'ons for stamping 24 

Conventional Designs 25 

Embroidery Stitches 27 

Stem or outline 

Kensington 

Short and long 

Satin 

Buttonhole 

Spot 

Antique 

Persian 

French knot 

Couching 

Hemstitching 

Spanish laid 

Plush 

Filling 

Honeycomb 

Brick 

Star 

Daisy Star 

Crow's feet 

Grouped star 

Darning 

Single basket 

Double basket 

Close basket 



V. 



VI. 



D'Alencon bars. 

Spider wheel 

Point de reprise 

Rosette 

Application of Stitches 

Combination of spot and single Daisy 

Loop 

Leal border 

Grapevine, applique 

Kensington stitch applied 

Short and long stitch 

Designs, conventional shading 

Shading 

Selecting shades 

Table of colors 

Proper method of shading 

High lights 

Shadows 

Conventional shading 

Natural shading 

Massing color for effect 

Art or Flat Embroidery 

Roman embroidery 

Practical embroidery 

Use simple designs and stitches 

List of table linen 

Table cloth 

Lunch cloth 

Napkin 

Doyley 

Carving cloth 

Table runner 

Tray cloth 

Center cloth 

Lunch sets 

Cruet mats 

Vegetable mats 

Tea or coffee cozey 

Mat for water service. ... 

Sideboard scarf 

Bedroom furnishings 

Articles for use in sleeping rooms. 

Pillow shams 

Pillow scarfs 

Commode scarf 

Splashers 

Toilet .sets 

Combination embroideries 

Scarf three 



INDEX. 

PAGE. PAG*. 

Daisy scarf 

Doyleys, Clover 

" Fern 

27-48 " Six Dresden 

49 " Leaf 

" Cherry 

51 Scroll-bordered center cloth 

52 Floral center cloth 

53 Book covers 

54 Dresden 

54-56 Conventional 

56-57 Round cushions 

Table covers, cross stitch 

Table covers, darned 

Curtains and portieres 

Screens . 

Applique embroideries 

Embroidered articles of dress. 

Handkerchiefs, corner 

Parasol 

59-66 Dresses 

Collar and cuffs 

Dressing jacket 

Corner crepe lise ruffle 

Edge of scallops for crepe lise rufHe. . 
Embroideries for children's Wardrobe. 

Scallop for Flannel 

Infant s shawl 

Skirts 

Sacques 67-116 

Church and Bullion Embroideries. 
Materials: 

Gold thread 

Passing 

Filo floss 

Purse silk 

Knitting silk . . 

Sewing silk 

Silver thread 

Art cords and spangles . . 

Frames 

Needles 115-117 

Stitches for Ecclesiastical Work. 

Couching: 

Basket 

Battlemented ... 

Brick 

Broad 

Diagonal 



INDEX. 



VIL 



Diamond 

Diaper 

Plain 

Shell 

Spider 

Vandyke 

Wheel 

Wavy 

Long 

Bullion knot ... 

Chain 

Outline 117-123 

Method of using stitches 118-126 

Conventional fleur de lis 126 

Method of working 126-127 

Chasuble 127 

Altar frontal, method of working 127-128 

Cardboard foundations 130-133 

Mottoes 131-134 

Jeweled borders 133-134 

Bullion embroidery 134-137 

Passion flower 136-137 

Colors for Ecclesiastical work 133 

The bleeding heart 136 

Berlin Embroidery 139 

Method of working 139-147 

Materials 140-142 

Furniture covers 141-142 

Canvas 142 

Stitches. 

Back 

Cross 

Long cross 

Persian cross 

Cushion 

Damask 

German , 

Tapestry." 

Irish 

Leviathan 

Double Leviathan 

Treble Leviathan 

Long 

Tent 

Raised • 

Satin 143-147 

Dragon border 140 

Raised Embroidery 149-151 

Ribbon work 151 



Louis XVL design 151-152 

Single ribbon roses 152-156 

Double ribbon roses 156-157 

Calla Lily 157-160 

Tiger and Japan lilies 160-161 

Water lily 161-162 

Golden rod 162-163 

Cattail 163-164 

Coxcomb 164-165 

Sumac 155 

Thistles 165-167 

Snowballs 167-169 

Pansies 168-168 

Fruit 169 

Cherries igg 

Oranges 169-170 

Strawberries 170 

Grapes 170-171 

Cotton plant 170-172 

Designs and Instructions 172-173 

Dainty trifles 175 

Memorandum card case 176 

Hanging bouquet holders 177 

Writing board for invalids 177-178 

Foot stool 178-159 

Paper stand 179 

Shoe box igO 

Sunflower cushion 180-181 ' 

Work basket 181-182 

Hair pin holder 182-183 

Small cushions 188-184 

Chair back and seat 184 

Lamp shade 185 

Wall pocket 185-186 

Bolster and pillow 186 

Handkerchief holder 186-187 

Photograph or calendar case 188-189 

Night dress satchel 189 

Pansy satchet 189-190 

Puff Cushion 190 

Decorated Eggshell 190 

Pansy Satchet . 191 

Mending bag 192-193 

Holders 193 

Paper holders 194 

Handkerchief holder 194 

Fancy table . .194 

Sunflower pen wipe 195 

Sofa cushions 195-196 



Vlll- 



INDEX. 



T? , , . PAGE. 

fancy work basket 196-197 

Foot cushion I97 

Ottoman cushion 199-199 

Shaving paper case I99 

Laundry bag 200 

Pumpkin cushion 201 

Photograph frame 203 

Photograph envelope 203 

P'" trays 203-204 

Glass handkerchief box 204 

Eiffel tower scrap bag 205-206 

Star quilt 206-209 

Handy bag 209-210 

Toilet cushion 210 

Emery cushion 211 

^""erflies 211-212 

Music stand .V12-213 

Scissors case 214 

Crawling rugs 215 

For the dining room 216-220 

Shoe box 221 

Burnt match holder 222 

Toilet cushion 222-223 

Foot stool 223 

Child's chair 223-224 

<^atch-all 224-225 

Head rest 225 

Hanging pin cushion 225-226 

Fancy pin cushions 226-227 

Infant's crib coverlet 227-228 

Table cover 228-229 

Chicken pen wipe 229-230 

Branch of fruit 230-231 

Dust cap 231 

Satchet bags 231-232 

Tobacco pouches 232-233 

Leaf penwipes 233-234 

Traveling case 234 

Child's chair 334 

Mat for water pitcher 235 

Needle cases 235-236 

Kensington cover for cushions 236-238 

Nasturtium cushion 238-239 

Infant's toilet case 239 

Keep a scrap bag 239-240 

Drawn Work 241 

Preparing the work 242 

Foundation stitches 242-244 

Basket insertion 245 



Lunch cloth with border and corner. . 245-251 

Border for center cloth 251 -252 

Corners 253-254 

Antique border and corner 255-256 

Brush and Palette 257 

Designs for painting .... 258 

Painting in oils on fabrics 258 

Materials for painting 258-259 

Mixing colors 

Blues, browns, buffs, yellows, 

grays, etc 259-260 

Palettes for 

Daisies 

Honeysuckle 

Apple blossoms 

Peach " 

Tea roses 

Feathery clematis 

Violets 

White and purple lilacs 

Pansies. ... 

Morning glories 261-262 

Sky effects for backgrounds 262-263 

Special palettes 263 

Strawberry spray 263 

Geranium spray 264-265 

Butterfiies 265 

Grapes on black velvets 265 

Pansies .... 266 

Purple thistles 266-267 

Pond lilies 267 

Purple clematis 267 

Oxheart cherries 267-268 

Virginia creeper, leaves and berries.. 268 

Peacocks 268-269 

Golden rod and astors 269-270 

Hollyhock screen panel 270-271 

Washable painting 271 

Medium 271-372 

Water color painting 272-274 

Roses 274 

White flowers 274-275 

Primroses 275 

Blue flowers 275 

Convolvulus 276 

Figures in water colors 276-277 

Fabric tinting 277-279 

Paris tinting 279-380 

Painting on celluloid 280 



INDEX. 



IX. 



PAGE. 

Lilacs on celluloid in oil 280-381 

Lilacs in water color on celluloid 281-282 

Lustre painting 282-284 

Kensington painting 284-285 

Kensington parrots 285-286 

Crayon painting, portraits 286-289 

Painting on birch bark 289-290 

Scorch painting 290-292 

Tapestry painting 292-293 

Canvas for 293-295 

Dyes 295-296 

Brushes 296 

Mixing dyes 296-297 

Flesh colors 207-298 

Flesh painting 297 

Hair and drapery 298-301 

Palettes for draperies, sky. marble, 

stone, etc 301-808 

Painting for profit 304-308 

Point Lace Materials 

Braid 

Lace thread 

Tracing cloth 

Ground cloth 

Designs 

Needles.. .... 

Preparing the work 

Outlining designs with braid 

Stitches 

Stitches proper or points 

Brussels point 

Venice point 

Spanish point 

Close Spanish point 

Treble Spanish point 

Grecian point 

Valenciennes 

Point d'Alencon 

Turkish stitch 

Net ground stitch 

Point de tulle 

Mechlin 

Wheels, rosettes, bars 

Sorrento bars 

Point d'Alencon bars 

Venetian bars 

Edged Venetian bars 

Dotted Venice point. 

Dotted Sorrento bars 



Greek Point 

Raleigh bars 

Point d'Alencon 

Point lace border 

Handkerchief border • 

Handkerchief Centers 

Collarette 309-321 

Knitting and Crocheting 325-326 

Terms used 327 

Abbreviations 327 

Crocheted dress for child 328-330 

Purse 330-331 

Baby's Sacque 331-332 

Baby's shirt 332-333 

Lady's vest 334-335 

Lady's vest, Basket pattern 333-337 

Baby's hood 337-338 

Fancy bag 338-339 

Fringe 339-340 

Pineapple edge 341 

Insertion crochet 242 

Border Crochet 343-343 

Trimming crochet 313-344 

Knitted square for counterpane i$45-C47 

Wheels for toilet set 347-348 

Edging 318-3o0 

Diamond edge 350-352 

Fern trimming • 352-S-.4 

Crochet trimming 354-355 

Narrow edging 355 

Broad edge 355-356 

Narrow coral edging 356-357 

Reticella crochet 357-360 

Petticoat for child 361-3G2 

Crochet tassel 363-364 

Daisy crochet lace 364-366 

Guipure lace, crocheted 3C6-368 

Crocheted table cover 3G8-371 

Petticoat 371-312 

Trimming, crochet and braid 37^-374 

Infant's knitted jacket 374-375 

Moss edging, crochet and braid 370 

Fern edging • • • 3 1 6 

French edging 3(6 

Edging serpentine 376 

Fancy braid edge, No. i 377 

Edging, No. 2 317 

Shell trimming 377-378 

PaliTi -trimming * 378 



INDEX. 



I'AGE. 

Hood for child 379-380 

Hood for child 381-38a 

Pillow shams 383-384 

Table mats 385 

Border to mat 385 

Crocheted doll 386-388 

Torchon lace 388 

Comfort for lounge 389 

Porcupine stitch „ . . . . 389 

Directions for wheel 389-391 

Petticoat for child 391-992 

Border and corner 393-394 

Crocheted skirt 394-395 

Infant's boot 395-397 

Mop for dusting pictures 397-398 

Dainty work for profit 399 

Work for stay-at-homes 399-400 

The first start 400 

Commenced Samples 401-402 

Designs for order work .... 402 

Soliciting orders for embroidery 403-404 

Teaching embroidery 404 

What to charge and how to collect 404-405 

To start an art store or bazaar 405-406 

Location of store 406 

Store fittings 406 

Arrangement oi store 407 

Stock of goods to be carried 408-409 

Art fabrics 409 

Samples and display work 409-410 

List of desirable samples 410 

Materials for made-up samples 410-412 

Cost of commenced samples 412-413 

Window display 413-414 



PAGE. 

Cost of starting a business , . 414-416 

Quality and kind of stock for different 

localities 416-418 

Stamping patterns 418-42C 

Descriptions of articles for stock. 

Toilet set 

Glasseine handkerchief sachet 

Glass panel screen 

Tobacco pouch . 

Glasseine toilet set 

Parasol Catch-all 

Traveling roll 

Duster case 

Calendar 420-424 

Descrittion of full page illustrations. 

Cushions, head rests 

Roman embroidery 

Star quilt 

Drapes, doyleys .... 

Carafe mat 

Table covers 

Easel drapes 

Portieres 

Mantel drapes 

Window drape 

Magnolia doyley 

Maple leaf doyley 

Dresden plate doyley 

Draped beds 

Colored plates 

Fleur de lis 

Poppies 

Oranges .... 

Oak leaves, sumac, golden rod-. . . 4?5-434 



INDE^X OF ILLUSTRATIONS. 



ALPHABETICALLY ARRANGED. 



FIG. PP. 

^ll-over design for drawn work 268-253 

Detail of 2(58-253 

Antique border and corner 370-255 

Antique Embroidery 31- 34 

Applique on net 101-108 

Artificial butterflies 214-212 

Baby's crocheted hood 288-338 

Baby's sacque 286-331 

Banner 137-133 

Basket insertion 263-247 

Battlemented couching 117-120 

Bedspreads and pillow shams 148 

Bleeding heart, The 141-136 

Block border 265-252 

Block insertion 260-248 

Detail a. b. of 260-248 

Bolster, covered 179-186 

Border, crochet 293-343 

Border, jeweled 138-133 

Bouquet holder 164-177 

Branch of Cherries 54-56 

Branch of fruit 237-231 

Brick stitch 31-40 

Brick flat couching 118-120 

Broad couching 120-121 

Broad edging 303-356 

Brussels point filling. 269-254 

Bullion knot 124-122 

Bullion monograms 135-132 

Burnt match holder 334-223 

Buttonhole and spot stitch 20-23 

Buttonhole edge 19-33 

Buttonhole stitch 18-38 

Butterfly design 103-109 

Calendar 279-308 

Calla lily working design 1 58 

Carafe mat 174 



FIG. PP. 

Carafe mat 72-80 

Carving cloth 64-75 

Catch-all 328-224 

Center mat 220-218 

piece 221-219 

Chair back 176-184 

Chair seat 175-184 

Chamois tobacco pouch 374-287 

Cherry center cloth 89 

Chicken pen-wipe 236-230 

Child's chair 244-234 

" 227-324 

petticoat 339-392 

Circles for ecclesiastical work 132-130 

Clover doyley 89-91 

Coffee cozy 71-80 

Combination leaf border 50-52 

Conventional book cover 93-100 

fieur delis 128-126 

Corner mantel 114 

Corner of scallop 106-111 

Couching stitches 35 

outline 24-35 

Covered shoe-box. ... 169-180 

Cover for library table 154 

Crawling rug 317-315 

Crocheted border 336-393 

Crochet braid trimming 317-373 

Crocheted dress for child . . .283-4-330 

dust mop 389-397 

" petticoat for child 307-361 

308-361 

detail.. 309-362 

" table cover 315-370 

" table mats 333-385 

Crochet tassels, detail 310-363 

Crochet trimming 301-354 



XI 



xu 



INDEX OF ILLUSTKATIONS. 



FIG. PP. 

Crocheted wheels 334-390 

Cross and long stitch 154-147 

" border 262-250 

" for altar front 112-116 

stitch design 95-102 

145-142 

146-143 

table cover 334-228 

Crows' feet 36-41 

Cruet mat, leaf shape 69-79 

Cushion 40-42 

Cut incomer 266-253 

D'Alencon bars 45-45 

Daisy center cloth 66-77 

Daisy crochet lace 311-365 

" design 107-111 

• star 35-41 

Darned backgiound 99-105 

stitch 39-42 

Darning stitch 98-104 

Decorated egg-shell 188-190 

Deep scallop 109-112 

Design for chasuble. 129-127 

Design in Kensington stitch 52- 54 

Detail crocheted table cover ... 313-368 

Detail cross stitch. 235-229 

Detail of couched design 125-123 

126-124 

crocheted dress for child 280-328 

Detail of crocheted dress for child . . . 281-328 

" " " " .... 282-329 

handkerchief case 181-187 

" long stitch design 127-125 

Devonshire cloth 1-12 

Diamond couching 28-38 

" 121-121 

edging 299-351 

Double and close basket stitch 44-44 

Double leviathan stitch 151-145 

Double photograph case 183-188 

Doyley 63-75 

Dragon border 143-140 

Drawn work 246 

247 

Drawn work in frame 252-241 

Dresden book cover 92-100 

" doyley, full page 430 

doyleys 87-94 



FIG. PP. 

Dresser scarf.Roman emb. design 74-83 

scarfs 83-89 

Duck's tail stitch 257-244 

Duster case 278-307 

Ease! drape 306 

Easter banner 139-134 

" 140-135 

Easy chair 144-141 

Ecclesiastical design 130-128 

Edge for collar and cuffs 104-110 

" table cover 314-369 

Edging, crochet 298-349 

No. 2 324-377 

Eiffel tower scrap bag 210-205 

Embroidery frame 2-15 

" 3-16 

" harp 4-17 

" scissors .5-18 

Emery cushion 213-211 

Fancy chain 10-20 

couching 29-38 

30-38 

crochet edge, No. 1 325-377 

spool bag 289-339 

table 194-194 

work basket 199-197 

Fern edging 300-353 

" 320-376 

Flannel scallop 110-112 

Flat thistles for cover 159-166 

Fleur de lis, colored plate 

Floral center cloth 91-99 

Flower head rest 53-55 

Folding work basket 171-182 

Foot stool 166-178 

Forgetme-not toilet cushion 198-196 

Four corners prepared 255-243 

French edging 321-376 

French knot 23-34 

Fringe 290-340 

Fruit pin cushion 231-226 

" 232-227 

plate doyley 222-220 

Geranium center cloth 67-78 

doyley 68-78 

German stitch 249-144 

Glasseine toilet set. 275-290 

Details of a. and b. of 27.5-290 



INDEX OF ILLUSTRATIONS. 



Xlll 



FIG. PP. 

Glass handkerchief box 202-940 

Glass panel screen 273-273 

Grape vine applique 51-53 

" center cloth 88-96 

Greek cross 134-131 

Grouped star stitch 37-41 

"No. 2 38-41 

Group of head rests, full page 58 

Guipure crocheted lace 312-36 

Hairpin holder 172-182 

Handkerchief case 182-187 

Handkerchief center 313 

Handkerchief corner 102-109 

Handkerchief square 313 

Handkerchief sachet, glasseine 272-263 

sachets 193-194 

Handy bag 211-207 

Hanging pincushion 230-226 

Head rest 229-225 

Hemstitching 26-36 

Hemstitching 256-243 

No. 2 258-244 

No. 3 259-244 

Honeycomb applied 33-40 

stitch 32-40 

Infant's crib coverlet.. 233-228 

knitted bodice 338-396 

jacket 318-375 

pillow 180-186 

shawl 111-113 

toilet case 251-239 

Insertion, crochet 292-342 

of border 261-249 

Detail a. b. c. d. e. f . of 261 250-251 

Invalid's writing board 165-178 

Janina stitch 41-42 

" close 42-43 

Jeweled border 113-118 

Kensington cushion cover 249-237 

Kensington stitch 13-30 

Kensington stitch, detail 12-30 

Knitted hood 327-379 

" detail of 328-380 

329-381 

331-382 

■' for child 330-381 

' ' purse 285-330 

Lace collar 319 



FIG. pp. 

Lace insertion 320 

Ladies' crocheted skirt 337-394 

dust cap 238-231 

skirt 316-372 

vest 287-334 

Lampshade 177-185 

Latin cross and anchor work 133-131 

Laundry bag 204-2(i0 

Leaf-bordered lunch cloth 82-88 

Leaf for pillow sham 80-86 

' ' penwipes 242-233 

Letter 136-13:; 

Linen covered cushion 197-196 

Long cross stitch 147-143 

Loop outline 11-29 

Louis XIV. design, full page 150 

Lunch cloth 61-74 

" cloth with corner and border. . 264-246 

Details of 264— a. b. c. d. e 246-247 

Magnolia doyley, full page 324 

" 219-217 

Mantel drapery, full page 302 

Maple leaf doyley, full page 322 

Memorandum card case 163-176 

Mending bag , 190-191 

Moss edging 319-376 

Music stand 215-213 

Napkin . 62-75 

Narrow coral edging 304-357 

" edging crochet 302-355 

Nasturtium cushion 250-238 

Needle case 246-235 

" closed 247-236 

New England footstool 226-223 

Night dress sachet 185-189 

Oak Leaves, Sumac and Golden Rod and 
Oranges. — Colored Plates. 

Ornamental holders 191-192 

Ottoman cushion 201-198 

202-198 

Owl shaving case 203-199 

Palm trimming 326-378 

Pansy sachet 186-189 

189-191 

Pantagraph '''-'^3 

Paper holders 192-193 

Paper stand 167-179 



XIV 



INDEX OF ILLUSTKATIONS. 



FIG. pp. 

Parchment parasol catch-all 276-293 

Passionflowers 142-137 

Pattern for cotton plant 162-172 

■' decoration of shoe box. . . 168-180 

to fill cut-in corner 267-246 

Persian cross • 148-144 

" embroidery 22-34 

photograph frame 206-202 

" envelope 207-203 

Picture and easel drape 141 

Pilgrim toilet cushion 225-223 

Pillow sham, crocheted 332-383 

Pin trays 308-203 

Pineapple edge 291-341 

Plain orick couching 119-121 

Plain flat couching 122-121 

123- 122 

Plaie 1, lace braid 310 

" 2, " stitches 312 

" 3. " •' 314 

" 4, " " ...., 816 

Pocket needle case 248-236 

Point de reprise 47-46 

'• lace braids, piate 1 210 

" " stitches, '■• 2 213 

" " " " 3 214 

" " " " 4 316 

Poppies, colored plate 

Poppy correctly shaded, No. 1 55-63 

"3 56-63 

" 3 57-64 

" for pillow sham 78-85 

79-85 

Prepared corner 253-242 

" 254-343 

Pumpkin toilet cushion 305-201 

Puff head rest 187-190 

' ' toilet cushion 173-183 

Raised basket couching 114-119 

115-119 

Raised calla lily 155-159 

" cotton plant 161-171 

" coxcomb and sumach 157-164 

Japan lily 156-160 

snow balls 160-167 

' ' thistles and golden rod 158-166 

Reticella crochet 306-358 

Roman embroidery 58-69 



FIG. PP. 

Roman embroidery 59-69 

Rose doyley 318-316 

Rosette stitch 48-47 

Round cushion 94-101 

toilet cushion 174-183 

Satin stitch 16-32 

" 17-32 

" 153-147 

" detail 15-32 

Sachet bags 339-232 

Scallop corner 108-113 

edge 105-111 

Scissors case 216-214 

Screens 100-106 

Scroll border 90-98 

Serpentine braid edge 322-376 

Set vegetable mats 70-79 

Shell trimming 325-377 

Shoe box 333-331 

Short and long stitch 14-31 

Sideboard scarf. . , 73-81 

Simple star. 34-41 

Single basket stitch 43-44 

photograph case 184-188 

Snowdrop doyley 86-93 

Sofa cushion 196-195 

Spanish foot rest 300-197 

laid work 27-37 

Spider wheel 46-46 

Splashers 81-87 

Spot and daisy loop 49-51 

Square for counterpane 398-345 

toilet cushion 213-210 

Stand cover - 97-104 

Stem stitch 8-38 

Sunflower pen-wipe 195-195 

" pincushion 170-181 

Table cover 96-103 

" full page 433 

" " crocheted insertion 365-360 

doyley and drape, full page.. 138 

Tapestry stitch 150-144 

Tent stitch 152-146 

Three outline stitches 9-28 

Tobacco pouch 240-232 

341-333 

Toilet bottle 75-84 

•' 76-84 



INDEX OF ILLUSTRATIONS. 



XV 



FIG. F9. 

Toilet cushions 77-84 

Toilet mat 297-348 

" set, cushion and bottles .. 271-261 

Details of a. and b. of 271-261 

Traveling bag 277-307 

case 243-234 

Tray cloth 65-76 

Triangle for ecclesiastical work 131-130 



F'O. PP. 

Trimming crochet , 29^-dH: 

Wall pocket 178-'85 

Water lily carafe mat 245-235 

Wavy couching 116-120 

Wheels crochet 296-347 

Window drapery, full page 294 

Work apron ^ G-18 



i>y t i. 



-*f*- 



X^BLE OF CONXKNXS. 

CHAPTER I. 

Introduction — Harmony of Interior Decorations — Beautiful Surround- 
ings—Economy in Decorating— Dainty Linen— Appropriate Ornamenta- 
tion—Use of Homely Materials in Decorative Work 6 

CHAPTER II. 
Materials for Decorative Purposes— Linen Crash— Bleached Linens- 
Domestic Linen— Bolton Sheeting— Colored Art Linen— Huck-a-buck— 
Art Satin— Butcher's Linen— Scrim— Morris Cloth— Frieze— Concordia 
Canvas— Egyptian Cloth— Turkish Crepe— Satin Damask— Gobelin Cloth- 
Hollywood Drapery— Russian Crash— Devonshire Art Cloth— Bargarren 
Art Cloth— Bolting Silk— Silks— Velvets and Plushes— Felt— Satin— Banner 
Silk — Sateen— Russian Tapestry — Mail Cloth— India Silk— Double 

Faced Sateen ^ 

CHAPTER III. 

Implements and Embroidery Threads— Embroidery Frames — 
Embroidery Hoops— Needles -Scissors— StiUetto— Embroidery Apron- 
Preparing Material for Embroidery-Placing Material in Hoops or Frames 
—Crewels— Tapestry Wool— Arrasene— Chenilles— Smyrnasene—Ribbo- 

sene—Featherasene— Embroidery Silk— Embroidery Linen 12 

CHAPTER IV 

Transferring and Stamping Designs-Tracing Paper-How to use- 
Perforated Stamping Pattern-How to make-How to use-Care of Patterns 
-How to Clean-Stamping Liquids-How to make-How to use-Panta- 

graph for Enlarging or Reducing Designs-Conventional Designs 21 

CHAPTER V. 

Embroidery Stitches-Stem or Outline Stitches-Kensington Stitch- 
Short and Long Stitch-Satin Stitch-Buttonhole Stitch-Spot Stitch- 
Antique Stitch-Persian Stitch-French Knot-Couching Stitches--Hem- 
stitching-Spanish Laid Work-Plush Stitch-Filling Stitches-Honey- 
comb Stitch-Brick Stitch-Novelty Stitches-Daisy-Star-Darning- 
Crowsfeet-Group-Janina-Double Basket-Single Basket-Close Basket 
— D' Alencon Bar— Spider Wheel— Point -d'Reprise— Rosette 27 



2 TABLE OF CONTENTS. 

CHAPTER VI. 

Application of Stitches — Darning Stitch for Background— Dado or 
Frieze— Conventional Design Worked with Filling Stitch — Couching and 
Satin Stitch Combined — Infant's Trosseaux — French Embroidery — Ken- 
sington and Darning Combined — Combination of Spot and Single Daisy 
Loop — Leaf Border— Grape Vine Border— Application of Kensington 
Stitch— Short and Long Stitch — Shading Conventional Designs 49 

CHAPTER VII. 

Shadmg — System of Shading — Selecting Shades of Embroidery 
Threads — Table of Colors — How to Purchase — How to Use — Proper 
Method Shading Specifically Applied — Natural Shading — Conventional 
Shading — Shading of Stalks, Leaves, Stems and Petals — Where to Put 
High Lights — Where to Place Shadows — How to Blend Different Shades. 

59 

CHAPTER VIH. 

Art or Flat Embroidery — Classification of Embroideries — Roman 
Embroidery — Applique Embroidery — Outline — Wash Fabrics Embroi- 
dered — Table Cloths — Lunch Sets — Side Board Scarfs — Doyleys — Carving 
Cloths — Vegetable Mats — Tray Cloths — Pillow Shams — Scarfs — Bed- 
spreads — Bureau and Commode Scarfs — Splashers — Tidies — Toilet Sets — 
Stitches to be Used — Materials to be Employed — Suitable Designs — Arti- 
cles for Use in Sleeping Room — Pansy Lunch Set — Scroll Border for Cen- 
ter Cloth — Round Cushion — Table Cover — Curtains and Portieres— Screens 
— Embroideries for Ladies Dresses, Sacques, Collars, Handkerchiefs, Fans, 
Parasols, Ruffles, Etc. — Embroideries for Children's Wardrobe 67 

CHAPTER IX. 

Church and Bullion Embroideries — Materials for — Stitches Used in 
Ecclesiastical Embroideries — Couching Stitches — Diamond Drapery — 
Plain Shell — Spider — Vandyke — Wheel — Wavy — Manner of Working — 
Colors to be used in Ecclesiastical Embroideries — Designs for Gold and 
Silver Work — Cardboard Foundations 115 

CHAPTER X. 

Berlin Embroidery — Uses of Stitches for— Materials for Berlin Work- 
Designs — Colors — Blending of Shades — Combination of Stitches 139 

CHAPTER XI. 

Raised Embroidery— Ribbon Work — Louis XVI Designs — Smgle Rib- 
bon Roses — Double Ribbon Roses— Calla Lily — Tiger and Japan Lilies — 



TABLE OF CONTENTS. 3 

Water Lilies — Golden Rod — Cattail — Coxcomb — Sumac — Thistles — Snow 
Balls — Pansies — Raised Fruit — Cherries — Oranges— Strawberries — Grapes 
— Cotton Plant — Designs and Instructions 149 

CHAPTER XIL 

Dainty Trifles — How to Make — What to Use — Economic Decoration — 
Articles for Church Fairs and Bazaar Sales^Memorandum Case — Bouquet 
Holder — Writing Board for Invalids — Foot Stool — Paper Stand — Shoe Box 
Sunflower Cushion — Work Basket — Hair Pin Holder — Toilet Cushion — 
Chair Back and Seat — Lamp Shade — Wall Pocket — Bolster and Pillow — 
Handkerchief Holder — Photograph Case — Calendar — Night Dress Sachet^ — 
Pansy Sachet — Puff Cushion for Head Rest — Decorated Egg Shell — Mend- 
ing Bag — Holders — Paper Holder — Handkerchief Sachet — Fancy Table — 
Penwipe — Sofa Cushion — Fancy Work Basket — Foot Rest — Ottoman 
Cushion — Shaving Paper Case — Laundry Bag — ^Pumpkin Cushion — Photo- 
graph Frame — Photograph Envelope— Pin Trays — Glass Handkerchief Box 
Eiffel Tower Scrap Bag — Star Quilt — Handy Bag — Toilet Cushion — Emery 
Cushion — Butterflies — Music Stand — Scissors Case — Crawling Rugs — For 
the Drawing Room — Doyleys — Mats — Center Cloths — Table Runners — Shoe 
Box — Burnt Match Holder — Toilet Cushion — Footstool — Child's Chair — 
Catch-all — Head Rest — Hanging Pin Cushion — Fancy Pin Cushions — 
Infant's Crib Coverlet — Table Cover in Cross Stitch — Chicken Penwipe — 
Branch of Fruit — Dust Cap — Sachet Bags — Tobacco Pouches — Leaf Pen- 
wipes — Traveling Case — Child's Chair — Mat for Water Pitcher — Needle 
Case — Cover for Cushion — Nasturtiums — Cushion — Infant's Toilet Case — 
Importance of a Scrap Bag 175 

CHAPTER XIII. 

Drawn Work — Materials for — Stitches for — Frames for — Uses of — 
Designs for — Corners — Borders — Set Patterns — Wheels — Scrolls — Squares 
— Preparing the Work — Foundation Stitches — Drawing Threads — Basket 
Insertion — Lunch Cloth — Center Cloth with Border — Antique Corner and 
Border — Combination of Drawn Work and Embroidery 241 

CHAPTER XIV. 

Brush and Palette — Designs for Painting — Painting in Oils on Fabrics 
— Materials for Painting — To Make Blues — To Make Browns, Buffs and 
Yellows — To Make Greys — To Paint Daisies, Honeysuckle, Apple, Peach 
Blossoms, Tea Roses, Feathery Clematis, Violets, White and Purple Lilacs, 
Pansies, etc. — Palettes for — Morning Glories — Sky Effects — Back Grounds — 
Special Palettes — Strawberry Spray — Butterflies — Grapes on Black Velvet 



4 TABLE OF CONTENTS. 

— Pansies — Purple Thistles — Pond Lilies — Purple Clematis — Oxhart Cher- 
ries — Leaves and Berries of Virginia Creeper — Peacocks — Golden Rod — 
Asters — Panel of Hollyhocks — Washable Painting — Medium — How to Use 
— Water Color Painting — Roses — White Flowers — The Primrose — Blue 
Flowers — The Convolvulus — Figures in Water Colors — Fabric Tinting — 
Paris Tinting — Painting on Celluloid or Ivorine — Lilacs in Oil on Celluloid 
— Lilacs in Water Colors on Celluloid — Luster Painting — Materials for — 
Brushes for — Medium for— Colors for — Method of Using — Kensington 
Painting — Parrots — -Crayon Painting — Portraits — Painting on Birch Bark — 
Scorch Painting— Tapestry Painting — Canvas for — Dyes — Brushes — Mixing 
Colors — Flesh Colors — Flesh Painting — Palette for Sky — Colors for Drap- 
eries — Hair and Drapery — Decorative Painting for Profit 257 

CHAPTER XV. 

Point Lace — Honiton Lace — Novelty Lace — Point Lace Braid — Lace 
Thread — Lace Stitches — Tracing Cloth — Foundation Cloth — or Leather — 
Designs for Lace Work — Outlining Design with Braid — Method Working — 
Laying Braid — Stitches — Proper or Point — Finishing Edge — Connecting 
Bars — Wheels — Rosettes — Ground Stitches — Brussels Point — Venice Point 
— Little Venice Point — Spanish Point — Grecian Point — Valenciennes Stitch 
— Point d'Alencon — Turkish Point — Net Groundwork Stitch — Mechlin 
Lace Stitch — Venetian Bars — Dotted Venice Point— Raleigh Bars — Point 
Lace — Handkerchief — Fischu — Border — Cushion — Cover — Handkerchief 
Centers and Borders 309 

CHAPTER XVL 

Knitting and Crocheting — Terms Used in Crocheting — Explanation of 
Abbreviations Used — Child's Dress — Purse — Infant's Sacque — Baby's Shirt 
— Lady's Vest — Ladies' Basket Pattern Vest — Baby's Hood — Fancy Bag 
Fringe — Pine Apple Edge — Insertion — Border Crochet — TrimmingCrochet 
— Design for Bed Spread — Wheels for Toilet Set — Edging — Diamond Edge 
— Fern Edge — Crochet Trimming — Narrow Edging — Broad Edging — 
Coral Edging — Reticella Crochet — Table Cover — Child's Petticoat — Cro- 
chet Towel — Daisy Crochet Lace — Crocheted Guimpure Lace — Crocheted 
Table Cover — Skirt Edge, Crochet and Braid — Infant's Knitted Jacket — 
Moss Edge — Fern Edge — French Edge — Serpentine Edge — Crochet and 
Fancy Braid— Shell Edge— Palm Edge— Knitted Hood for Child— Cro- 
cheted Hood for Child — Crocheted Pillow Sham.s — Table Mats — Border to 
Mat — Crocheted Doll — Torchon Lace — Comfort for Lounge — Porcupine 



TABLE OF CONTENTS. 5 

Stitch— Wheels— Petticoat For Child— Border and Corners for Table 
Cover— Crocheted Skirt— Infant's Vest— Crocheted Mop Duster— Cro- 
cheted Novelties 3^5 

CHAPTER XVII. 

Dainty Work for Profit — Work for the Stay-at-homes — The First Start 
— Commenced Samples — Cost of — Materials for — Designs for Order 
Work — How to Solicit — Orders for Embroidery — The first Days' Work — 
Teaching Embroidery — What to Charge — How to Collect — How to Open 
an Art Bazaar or Fancy Goods Store — How to Conduct — Selection of 
Location — Store Fittings — How to divide Store — The Work Room — The 
Show Window — How to Dress — What Stock to Carry — How to Buy — Art 
Fabrics — Sample and Display Work — List of Desirable Samples — Materials 
for Made-up Samples — Cost of Commenced Samples — Window Display — 
Stock — Cost of — Quantity Necessary — How to Buy and Sell Novelties — 
Description of Articles for Stock — Toilet Set — Glasseine Handkerchief 
Sachet — Glass Panel Screen — Tobacco Pouch — Glasseine Toilet Set — 
Parasol Catch-all — Traveling Roll — Duster Case — Calendar 400 

CHAPTER XVIII. 

Description of Full Page Illustrations — Cushions — Head Rests- -Roman 
Embroidery — Star Quilt — Drapes — Doyleys — Carafe Mat^Table Covers — 
Easel Drapes — Portieres — Mantel Drapes — Window Drape — Magnolia 
Doyley — Maple Leaf Doyley — Dresden Plate Doyley — Draped Beds- 
Colored Plates — Fleur de lis — Poppies — Oranges — Oak Leaves — Sumac — 
Golden Rod 426 




LITH.Bl THC atCLTr CC.C^,^ 



DAl/NTy WOKK 



CHAPTER I. 



INTRODUCTION. 

E HAVE tried in the following pages to inculcate a 
love for home beautifying; to show how every home 
in this broad land can be rendered beautiful, accord- 
ing to surrounding circumstances and the financial 
ability of the owners; to teach economy, appropri- 
ateness and harmony in interior decorations; how to 
make use of the homely, every-day articles, trans- 
forming them from unsightly objects into things 
beautiful to behold. In a word, we have tried to give 
instructions in all things pertaining to the home 
beautiful so clear and simple that no household, 
however humble, need be without the refining influ- 
ences of dainty environments. 

We have always recognized that the first requi- 
site of a true home is order and cleanliness, for 
without these there can be no beauty, no true refinement, even though 
mother and daughters be able to paint like a Raphael and embroider 
like a Queen Matilda; without the first, the last accomplishment is worse 
than useless as a means of home decoration. It is better to be a good 
cook than a poor painter, better to be a deft anci handy garment-maker 
than an indifferent embroideress, better to have order and system than a 
small knowledge of china painting, but given the former, the latter are beau- 
tiful and useful accomplishments for wife, mother, sisters and daughters. 




6 DAINTY WORK FOR PLEASURE AND PROFIT. 

It is certainly the first duty of a wife and mother to make home the 
pleasantest and happiest spot on earth for the members of her family, and 
to do this requires more than order, system, immaculate cleanliness, more 
than the purchase of expensive carpets and pieces of heavy furniture. It 
requires the home-making, home-beautifying talent. It needs the exercise 
of an ingenious mind and nimble fingers in fashioning dainty accessories in 
the shape of mantel drapes, screens, wall-pockets, toilet sets, dainty table 
linen, cushions, photograph holders, and all the numberless odds and ends 
that go to make up the pretty home comfort of a room. 

Taste, more than money, is needed in the decorating of American 
homes; oftentimes the simplest and least expensive efforts are those which 
give the most homelike, pleasing and restful effects. And now, dear reader, 
right here let me say a few words directly and individually \.o yoti. Do not 
wait to build a fine residence before you begin to make a home, in the only 
sense in which the word should ever be used. Do not let your children 
grow up amid uncouth and unlovely surroundings, while you are waiting for 
the dollars to grow. Remember, the young will seek for beauty elsewhere, 
if it is denied them at home. The old house maybe too square cr too long, 
too low or too high, too old fashioned, aye, even "tumble-down" may be 
the only word to fully express its appearance, yet it can be made a lovely 
home, if only the spirit of home beautifying abides in the heart of its 
mistress. Now, do not say you cannot afford it; you can afford it, because 
it is one of the necessities and not a luxury of life. With the facilities offered 
in these pages for learning the different kinds of needle-work, and the 
making up of an almost innumerable amount of fancy and pretty articles, and 
the present low prices of materials, there is no excuse for bare, cheerless 
looking rooms in any part of our country. And beside, decorative effort of 
some kind is a necessary part of home culture. We say effort advisedly, as 
the result is not so much the thing to be considered as that the spirit, wish cr 
desire to make our homes not only orderly places of abode, but beautiful as 
well, should exist. And we repeat, this effort at home decoration may be 
costly or simple, according to individual means; but there is no home so poor 
that some attempt at beautifying cannot be made. An attempt with 
crudest results is better than none at all. If one lives in few rooms, and 
curtains and carpets have so far been unattainable, the fiift effort at 



INTRODUCTION. 7 

decoration will naturally be to drape the curtainless windows and cover the 
bare floors. The curtains may be of cheese cloth, and covering the floors 
may mean to simply stain them, and, later on, to lay rugs of home manu- 
facture; but what a change this effort to beautify will have made. Having 
begun the work of beautifying, how simple it seems to go a step further, 
and add a few pots of healthy plants to the curtained windows. Expen- 
sively embroidered cushions, table spreads, lambrequins, etc., would here be 
out of place, and so far from adding to the effect would be inharmonious. 
The embroidered spread would laugh at the homemade rugs, and the 
expensive cushion turn up its nose at the homely lounge. 

We hear some dissenting voice cry out: "You would have the mistress 
of this primitive home cease her efforts at home beautifying ere she has 
fairly begun?" By no means! We simply wish to say that articles of mere 
luxury should give way to those of necessity, and that the decorations 
should be harmonious with the general surroundings. If the household 
means will allow it, we would have the mistress thereof purchase a good 
supply of nice firm table linen, a good supply of bedding and towels, and 
embroider the family initial or monogram on each piece. The constant use 
of dainty linen, the constant sight of a well-appointed table, are factors in the 
home education of every child; we hold, therefore, that embroidered house- 
hold linen is a decorative necessity and within the reach of the very poor. 
The trouble with those who exclaim most loudly at the expense attached 
to fancy work, lies in the fact that articles of mere ornament are begun with 
only the vaguest idea on the part of the worker as to the ultimate cost; 
hence, discredit is brought upon the very name of fancy work. All this 
might be obviated if as much thought were given to the subject and the 
same rules governed the purchase of art materials as is given to the ordi- 
nary purchases of the household. 

When women cease to make $15 to S20 lambrequins for a room whose 
entire furnishings did not cost three times that amount, and Sio table 
spreads when the income would not warrant an outlay of more than one- 
third as much; when they learn that a few dollars' worth of embroidery silks 
disposed over several articles in keeping with all the surroundings is far 
more effective than one elaborate piece whose very richness renders shabby 
what before was passable, then will "Home Decoration" occucy i*"" rightful 



8 DAINTY WORK FOR PLEASURE AND PROFIT. 

position as a necessary and useful art. And now a last word before we 
enter upon the subject of this work. If anything must be dispensed with in 
your furnishings let it be the carpet. You can do quite well in procuring a 
pretty effect with a few home-made rugs and an oiled floor. Ingenuity, taste 
and skill are to you worth dollars. If you cannot afford silk bolting at 
1^3.50 per yard for your doyleys and dressing case covers, use scrim at 15 
cents per yard. If you cannot afford a Persian rug, or even a very good 
imitation of one, buy a Ross rug hook, take a piece of coffee sacking, 
ravel pieces of old carpet for the necessary yarn, and make one; it will cost 
about $1.50, and perhaps less; if neatly done, it will look almost as well as 
one that sells at $15 to ^25. And remember, first, last and all the time, that 
"Refined ornamentation in every room in the house, especially those of the 
boys and the help, and a union of effort in this kind of work, particularly in 
the parlor and all other family apartments, will have a wonderful effect in 
developing character and preserving harmony in the household." 




CHAPTER 11. 




MATERIALS. 



^N THIS day of progressive ideas almost every 
kind of textile fabric is used as a background 
for decorative neeedle-work, from the coarse, 
unbleached linen crash to the finest silks and 
velvets, and each and every kind is appropriate, 
according to the use for which it is designed. 
We will here give the names and a brief description of the different fabrics 
more generally used for decorative purposes. 

Linen Crash, such as is used for kitchen towels, is a fabric that 
offers a particularly pleasing ground for embroidery done in crewels, 
tapestry wools or linen embroidery threads, and can be purchased in various 
widths, from sixteen to thirty inches, and for lo to 25 cents per yard. 

Bleached Linen, of a fineness suitable for shirt fronts, is suited for 
doyleys, center cloths, pillow shams, toilet sets, sideboard sets and guest 
towels, when something very nice is desired. This kind of linen can be had 
in widths from twenty-four to thirty-six inches, and for various prices, 
according to quality, from 60 cents to ^i.OO per yard being the usual price. 
Domestic Linen is a firm fabric with a very light twill, and is made 
in widths from sixteen to eighty inches. Domestic linen is used for all the 
purposes for which the finer qualities are employed, and is especially suited 
for bedspreads, pillow shams, dresser scarfs and toilet sets that are to be 
embroidered with either silk or linen threads. Price per yard, from 20 
cents to ;^i.50. 

Bolton Sheeting" is a coarse, heavily twilled cotton fabric, two 
yards wide. It derives its name from the English town where it was first 
manufactured. It is sometimes called workhouse sheeting, from the fact 
that it is used for sheets and pillow slips in English workhouses. It is very 



10 DAINTY WORK FOR PLEASURE AND PROFIT. 

effective when embroidered in colors with either silk or linen threads, and 
is much used for fancy bedspreads and dresser sets, beside portieres and 
sofa covers. It is cheap, costing but 50 cents a yard for the best quality, 
and it is full two yards wide. 

Colored Art Linen. This fabric is a recent weave, and from the 
beauty and durability ot the colors is destined to enter largely into the 
field of decorative work. Art linen is fifty inches wide, and is made in all 
the beautiful art shades, such as dead-leaf brown, old rose, gray blue, 
golden brown, leaf green, ecru, nasturtium, orange and gray. It is used tor 
covering furniture, portieres, curtains, cushion covers and table spreads, and 
lends itself to the lights and shades of embroidery silks with beautiful 
effect. Price per yard, $1.50. 

Huck-a-buck, commonly called huck toweling, is a linen material 
in pure white and cream white, having threads slightly raised on the surface 
forming a honeycomb mesh. The mesh is large or small, close together or 
far apart, according to the fine or coarse quality of the huck. This fabric is 
usually decorated with outline in stem stitch, and background darned with 
silk or linen threads. The widths vary from sixteen to forty inches, and 
the price from 25 cents to $1.25 per yard. 

Linen Bolton Sheeting" is a heavy linen fabric woven in imita- 
tion of the cotton article of that name. It is nearly as heavy as duck or 
canvas, which it closely resembles. It is used for the same articles as the 
cotton bolton; it is, of course, more expensive, costing about $1.30 per 
yard. It is two yards wide. 

Art Satin is a cotton fabric, in white only, having a satin finished 
surface. It is very pretty made into table squares, tidies, center pieces, 
dresser scarfs and toilet sets, as the soft finish makes a good background 
for silk embroidery. It is forty inches wide, and can be had for 75 
cents per yard. 

Butchers' Linen is a very coarse linen, partly bleached, full 
bleached or unbleached. It is made in various widths, though the fortv- 
inch weave is the one more commonly employed, as it cuts to better 
advantage in making up articles. It can be used for decorative needle- 
work, though it is not so nice as the domestic linen. The forty-inch width 
usually sells for 30 cents per yard. 



MATERIALS. ii 

Scrim is a very useful and pretty material with which to furnish a 
bedroom; spread, pillow scarf, dresser drape, curtains, tidies, etc., should be 
en suite, decorated throughout in a harmonious design. This material takes 
outline effectively. It is made in various widths, and costs from 15 cents 
to $1.00 per yard. 

Morris Clotil is a beautiful, soft diagonal twill goods, two yards 
wide. It comes in all the art tones, among which may be mentioned silver 
green, sage green, apple green and apple red. It can be trimmed with 
bands of harmonizing or contrasting shades of the same, and decorated 
with embroidered designs in couching and rope silks. This fabric is sold 
for ;^3.oo per yard. 

Frieze is a beautiful English-looking material, very rough as to 
surface and thick as to texture; it is used for floor cloths, table cloths, some 
kinds of upholstering and rugs. It should be decorated with large, bold 
design worked out with linen threads in rope, couching and art cord sizes, 
and if the piece is small, or expense is no object, silk can be introduced 
with beautiful effect. Price per yard, $2.50. 

Concordia Canvas is a thick and heavy cotton material in cream 
white, with a honeycombed surface; it can be purchased in lengths for chair 
backs and is designed for darning; the pattern being darned in under the 
honeycomb with rope silk, the effect is that of filmy lace thrown over the 
colored design. Price per yard, 50 cents. 

Egyptian Cloth is a white, wash cotton goods, quite fine and sheer, 
somewhat resembling cheese cloth, but very much handsomer. It is used 
for summer drapery, bedroom sets and sash curtains. It is a lovely material 
for outlining or painting. Price per yard, 50 cents. 

Turkish Crepe, a white, wash goods, particularly suitable for 
picture and easel drapes, curtains and bed draperies. It is soft and creamy, 
with a fine crepe effect, which is retained after washing. Price per yard, 
50 cents. 

Satin Damask is a beautiful heavy linen, with smooth, satin- 
finished surface. It is made in pure white, in various widths, from sixteen 
to seventy-two inches, and costs from 60 cents to S3.00 per yard. It is 
used for nice table linen, lunch sets, fruit sets, doyleys napkins, center cloth, 
tray cloth and table mats. 



12 



DAINTY WORK FOR PLEASURE AND PROFIT. 



Gobelin Cloth is a pure white cotton fabric, eighteen inches wide. 
U has a decided twill, amounting almost to a rib, crosswise of the material. 
Price per yard, 50 cents. This is a popular fabric for toilet sets, cushion 
covers, table mats and centers for table covers. 

Russian Crash is a fine woven linen fabric, about eighteen inches 
wide, in natural linen color — a pure gray. It is a beautiful background for 
outlined embroidery or Roman cut work. Price per yard, 50 cents. 

Hollywood Drapery is a cotton fabric, made in cream, white and 
colors. Cream, white and some colors are made two yards wide, while a 
few colors come only fifty-four inches wide. The price varies from Si. 25 
to $1.75 per yard, according to width and color. The weave is very close 
and firm, and the surface presents an almost invisible basket effect. It is a 
very desirable material for table covers, plain spreads, portieres, bed 
spreads, toilet sets and cushion covers. It is beautiful embroidered with 
linen thread in conventional style, and as it needs no lining is an econom- 
ical material for portieres especially. 

Devonshire Art Cloth is a beautiful 
linen fabric made of the natural flax, that is, not 
dyed, but comes in the beautiful flax color. It 
is made in squares or checks of different sizes, 
one of which we show here. It is a firm, closely 
woven fabric, and will be found very artistic for 
centers to cushions, table covers, wall panels, 

DEVONSHIRE CLOTH. FIG. I. chair covcrs or sideboard scaris. It is two 

yards wide and costs $3.00 per yard. 

Bargarren Art Cloth is a fabric designed especially for "Darned" 
embroidery. It is made in four styles, each one having a mesh of different 
size and shape. The surface is honeycombed by means of the thread which 
is raised to form the mesh. This thread is very heavy and the weave firm, so 
that the largest sized embroidery linen threads can easily be darned under 
it. The fabric is made in pure white, cream white and colors, and is first 
woven eighty-eight inches wide and then shrunken to seventy-two inches, 
so there is no trouble with shrinkage after an article is made up. For bed- 
spreads, dresser scarfs, toilet sets, portieres and table covers there is no 




MATERIALS. 13 

material that offers such possibilities for economical embroideries, as large 
surfaces can be covered with darned and outline work at little expense. 
The price varies from $1.2$ to ;^i.6o per yard. 

Bolting- Silk is a fine, transparent, gauze-like material, made of 
finest white silk and very strong. Millers use it for bolting a certain brand 
of flour, hence its name. It is made in different widths, from eighteen to 
forty inches wide, and is a popular fabric for dainty articles for the toilet 
table, for doyleys, drapes, shams, curtains, and tea cloths lined with silk. 
It can be washed, and is beautiful embroidered in either pure white or 
colors. Prices range from 75 cents to ^3.00 per yard. 

Silks, plain and ribbed, are used as a background for decorative 
needlework, and for articles that are not exposed to much usage and conse- 
quently that will not need frequent cleaning. They will be found both 
serviceable and elegant. Width, from eighteen to thirty-two inches. Price, 
from 75 cents to $1.7^^. 

Velvets and PI UShes are both much used for handsome pieces of 
embroidery, and cost, according to quality, from 75 cents to S2.25 per yard- 
Width, eighteen to thirty-two inches. 

Felt is a heavy cloth without any weave, and with a perfectly smooth 
surface, alike on both sides. It is full two yards wide, and comes in all 
colors. Price per yard, ^i.oo. 

Satin offers a beautiful background for all kinds of silk embroidery. 
Price per yard, from 60 cents to $1.25, according to quality. Width, 
eighteen to twenty-seven inches. 

Banner Silk is a twilled silk, made in two widths, namely, forty- 
four and seventy-two inches. It is designed especially for society banners, 
but is also used for door and window draperies when expense is no objecL 
Price per yard, $8.00 and $10.00. 

Upholsterers' Plush and Satin. These materials closely 
resemble the ordinary fabrics of the same name, but are usually a heavier 
quality. Widths, fifty-four and seventy-two inches. Price, $10.00, $12.00 
and $15.00 per yard, for best qualities. 

Sateen is a satin-faced material with a wool back. It comes fifty-four 
inches wide and costs $2.50 per yard. It is used for table scarfs and covers 
portieres and panels. 



14 DAINTY WORK FOR PLEASURE AND PROFIT. 

Russian Tapestry is a very heavy, all-silk material, woven with a 
broken twill crosswise of the fabric, and presents a crepy effect which lights 
up wonderfully, showing several different shades of its own color. It is 
woven fifty inches wide, and is very beautiful for portieres, cushions, table 
and bed covers and piano covers. Price per yard, S5.50, 

Basket Silk is a silk-faced material, fifty inches wide. It comes in 
white, ecru, old rose and gray. It is woven with basket effect on the right 
surface; the mesh is about as pronounced as that on medium coarse huck 
toweling. Basket silk is fifty inches wide, and can be had for $3.00 per yard 

Mail Cloth is a very heavy silk-faced fabric, fifty inches wide. It has 
a small bird's-eye weave on the right surface and requires no lining. It 
comes in all the art shades, such as Indian red, maize yellow, sage green, 
dead-leaf brown, old blue, ecru and cream. It is a beautiful background for 
heavy embroidery with rope silk, couching silk and art cord. Price per 
yard, $3.00. 

India Silk is a thin, plain woven silk, much used for draperies, puffs, 
linings and trimmings for fancy articles. It is from twenty-seven to thirty- 
six inches wide, and can be had for from 60 to 75 cents per yard. It is very 
dainty embroidered in outline stitch only. 

Double-faced Sateen is a very heavy goods, plain satin surface 
on both sides. As its name indicates, it is reversible; thus, one side will be 
a deep old blue, while the reverse side will be a pale old blue overcast with 
a silvery sheen, but both blues will be of the same line of color. Where 
handsome portieres or table covers are desired there could be no more 
beautiful fabric. No linings are ever used with this sateen. It is fifty 
inches wide, and can be had for $3.50 per yard. 

The above list contains most of the fabrics commonly used for embroi- 
dery work, but it is by no means a complete list, as there are the canvases 
used in cross-stitch, the lawns, muslins, merinos and flannel used for articles 
of wearing apparel, the serges, velours and brocaded silks of infinite variety 
that are used for furniture covers, that need no description here as they are 
familiar to all. 



CHAPTER III. 



IMPLEMENTS AND EMBROIDERY THREADS. 




HIS IS a subject of vital importance to the needle- 
worker, and deserves a chapter to itself. No good 
work can be accomplished without the proper imple- 
ments to- do it with, hence we will discuss them in 
the order of their importance. First, then, the embroi- 
derer who expects to do a variety of work must have 
a frame and a pair of hoops. Now, there are embroi- 
dery frames in the market by the score, and at prices 
ranging from $2. 50 to S7.50 each. We give here an 
illustration of one of the popular frames on a standard. 
It is very convenient for large pieces of work, and 
allows the worker the free use of both hands. This 
style of frame has adjustable screws and can be 



lowered or raised at will, and 
tipped to any angle desired by 
the worker; but these frames are 
expensive and would hardly be 
purchased by the lady who does 
embroidery only semi- occasion- 
ally, and so we show, in figure 3, 
the frame we have used in all our 
own work during the last ten 
years. It will cost fifty cents if a 
carpenter makes it, and nothing 
at all if one is fortunate enough 
to possess a husband or a big 
brother who can be pressed into 




EMBROIDERY FRAME. FIG. 2. 



i6 



DAINTY WORK FOR PLEASURE AND PROFIT. 




EMHKOIDERY FRAME. 



service. It is simple in the extreme, consisting of four pieces and as many 
wooden pins; holes, large enough to hold the pins, are made at regular 
distances apart on the two side pieces, and one hole in each end of the two 
end pieces, after the fashion of quilt frames. This allows the work to be 

rolled out of the way as fast as finished. 
The end pieces of the frame need not 
be more than i8 inches long, and 
those for the sides 20 or 24 inches long, 
for convenience in handling. The top 
and bottom pieces of the frame should 
have fastened to them a double piece 
of bed-ticking, about two inches wide. 
This can be fastened to the frame by 
means of tacks driven quite close to- 
gether in order to hold the ticking firmly in place. In putting work in the 
frame, sew to the ends of material a strong piece of cotton factory or tape, 
which is then sewn with strong thread to the ticking on the frame. It 
should be as tight and firm as possible, the strain being increased gradu- 
ally, the sides of the material to be embroidered should then be braced to 
the side pieces of the frame by means of a heavy twine threaded in a coarse 
needle. Begin at the upper right corner by drawing the thread through 
the tape or cotton, and securely tie the end; the twine must then be sewn 
over the side piece of frame and into the side of material until the lower 
corner is reached, then knotted securely and cut off. The other side must 
be done in same manner. When the material is larger than the frame, it 
must be sewn on to the bars and rolled round one of them, putting tissue 
paper and wadding between to prevent the fabric from becoming creased. 
When the part in the frame is finished, it is then rolled around the opposite 
bar, and so on until the work is completed. 

In embroidering in a frame both hands should be employed. The right 
hand should be used to put the needle down and the left hand to return it 
to the surface again. This is slow work at first, but if persevered in will 
amply repay the time spent in the increased speed acquired. 

There are certain fabrics and kinds of embroidery that can be done over 




IMPLEMENTS AND ExM BROIDERY THREADS. 17 

hoops figure 4 shows a pair of these hoops. The work is placed smoothly 

over the smaller hoop, and the larger is then drawn over the whole. If 

the hoops do not hold the work firmly and 

smoothly, wind the upper hoop evenly with 

clean cotton cut into strips about an inch 

wide. It is convenient to have about three 

pairs of hoops of different sizes; one about 

four inches in diameter, for working initials, 

hat crowns, doyleys and other small articles; 

another, about six inches in diameter, for embroidery hoops, fig. 4. 

larger work, and still another size, eight inches in diameter, for still larger 

work, which is also a good size for doing drawn work. 

The hoops and frames secured, the next item to claim attention is the 
matter of needles, and be sure this is a very important item in the embroi- 
derer's outfit, as upon the use of proper needles depends much of the 
beauty of the work. A needle too coarse or too fine will be sure to prove 
a source of constant annoyance. There should be at hand a supply of 
needles of various sizes, both round eyed and long eyed. The kind of 
needle known as arrasene needles are best for carrying chenille, arrasene, 
ribbosene, rope silk, art silk, Bargarren linen and rope linen. They can 
De had in packages containing assorted sizes. The needle for working with 
Bargarren linen should be two sizes larger than that for carrying rope 
linen, and the needle for carrying wool arrasene should have a larger eye 
than the one employed in carrying silk arrasene or rope silk. It is better 
to have a needle too large than too small for such threads as Bargarren 
arrasene and chenille. For embroidering with etching silk, filo floss, wash 
twist, linen floss and embroidery cotton a round-eyed needle should be 
used — Millward's No. 9 for filo floss and linen floss, and No. 8 for the other 
threads mentioned. A long, slender needle with sharp point is better 
than a short, blunt needle. 

A piercer and stilletto should be found in every work basket. The 
stilletto is used to make the holes through which the cord edging has to be 
taken in embroidering a pattern and for eyelet holes. 

The piercer is invaluable for laying the threads in gold and silver embroi- 
dery, and in raising the work in either crewel or sdk embroidery. In church 



DAINTY WORK FOR PLEASURE AND PROFH. 




embroidery it is used for working silk over cardboard. This little instru- 
ment is made of steel, which is round and pointed at one end, resembling a 

Btilletto, and flat at the other. 

A pair of sharp-pointed scissors is an abso- 
lute necessity. Do not depend upon the 
family scissors or shears, if it is possible to 
have a pair exclusively for embroidery. The 
slender, sharp-pointed kind are the only ones 
EMBROIDERY SCISSORS. FIG. 5. suited to Cutting out in Roman embroidery 

and applique work and for cutting ends of threads. 

A pair of white sleeves to draw on over the dress sleeves and a linen apron 

to cover the skirt are necessary adjuncts to the 

toilet of the embroideress when at work, as 

without them the dust that naturally adheres 

to the dress will soil the work. For those 

ladies who are troubled with rough hands, a 

piece of fine sandpaper or pumice stone should 

be kept in the work basket and the fingers 

rubbed with it occasionally. If the hands be- 
come troublesome through perspiration, bathe 

them in strong alum water. We show here a 

model for a convenient work apron. The apron 

should be long enough to nearly, if not quite, 

cover the skirt, and the hem should be turned 

up on the right side to a depth of twelve 

inches and caught down at regular intervals 

from the ends, to form pockets for threads, 

small embroidery hoops, piercer, stilletto, and 

the smaller articles one uses most frequently 

in embroidering. The apron can be made as ornamental as one chooses oi 

as plain, but it is better to make it of linen, as dust will not adhere to it sc 

readily. 

So much for the implements used in embroidering. We will now con- 
sider the materials with which to embroider, and they are almost as varied 

as the materials to be embroidered upon. The following are in use: 




WORK APRON. FIG. 6. 



IMPLEMENTS AND EMBROIDERY THREADS. IQ 

Crewels. The crewel is a strong twisted woolen yarn, not at all like 
zephyr, but finer and firmer. The English crewels come in lovely soft 
shades, which blend beautifully. 

Zephyr is a soft twisted woolen yarn used on canvas worked in cross- 
stitch. 

Tapestry Wool is an English thread, larger than the crewel, but 
with the same firm twist; it is used on heavy linens, tapestry cloths and 
friezes. It comes in dull art tones, and is much affected by the Art Societies 

Arrasenes, both silk and wool, have been very popular and are still 
employed in some kinds of embroidery. It resembles a very narrow piece 
of silk which has been ravelled out on both sides^ having one thread left in 
the center. 

Chenille is a velvety-looking round thread made in two sizes, large 
and small. 

Srnyrnasene is a coarse, round thread, resembling chenille, but 
having a rough, fuzzy surface; used sometimes to work thistle leaves and 
begonia foliage. 

Ribbosene is a narrow, crinkled ribbon, used in the needle in the 
same manner as arrasene. No blending of shades is possible with this mate- 
rial. We will speak further of the method of using ribbosene under the 
heading of ribbon work. 

Feathersene is a thread much resembling arrasene, except that the 
silk has been ravelled only on one edge, and the remaining threads have 
been left on the opposite edge instead of in the center. It is designed 
to sew around the outline of designs, and is not used in the needle. It is 
very perishable, and should not be employed upon articles that are for use 
rather than ornament. 

Embroidery Cotton is used for French embroidery upon linens 
and cottons, and for initials. It comes in various colors, but red and white 
are the only ones recommended. 

Embroidery Wash Silks, made in four sizes, as follows: Etch- 
ing Silk, very fine, with a firm twist. Wash Twist, larger tha.i et::hing silk, 
but with the same twist. Filo Floss, a soft, untwisted, fine silk. Royal 
Floss, a soft silk resembling filo floss, but about twice as large. Rope Silk, 
the largest size of silk to be used in the needle, has a slight twist. 



20 



DAINTY WORK FOR PLEASURE AND PROFIT. 



Couching" Siik is a large, cord-like silk, but with a soft, loose twist; 
it is used for couching around outlines, etc. 

Art Cord is a small silk cord; can be used for fancy filling stitches 
of certain kinds, for lacing, etc. 

Real Scotch Linen Threads, made in four sizes, as follows: 
Bargarren Linen, the largest size made. Rope Linen, corresponding to 
rope silk, and the size next smaller than the Bargarren linen. Flourishing 
Thread No. 4, which is finer than the rope, comes next. Flourishing Thread 
No. 8, which is the finest of all, and corresponds to filo floss in silk, comes 
last. 

Tyrol Cord is a twisted linen, and to be used in the same manner as 
couching silk. 

German Cord, not art cord, is a white linen cord used for button- 
holing over in Roman embroidery. 




CHAPTER IV. 



TRANSFERRING AND STAMPING DESIGNS. 




O THE woman who cannot draw, the question of 
securing designs for embroidery is often a serious 
one; indeed, to some, proving an insurmountable 
barrier to the doing of decorative needlework. 

A good design is of the utmost importance, 
for if the pattern be inartistic and clumsy, no 
amount of excellent needlework can cover the 
defect, and the whole will be spoiled. Perforated 
stamping patterns here come to our aid, and so important and remuner- 
ative has this industry become that the best artists are employed to furnish 
designs for both painting and embroidery. These designs are now furnished 
so cheap that the expense of patterns for embroidery has come to be a 
secondary consideration, and it is much better, where possible to do so, to 
purchase the design wanted perforated ready for stamping. However, it 
often happens that one wishes to use a design from a book or magazine, or 
even wall paper, and then it will be necessary to transfer the design to the 
fabric, which is done as follows: 

Place over the design a sheet of tracing paper, and trace over the lines 
very carefully. After the design is transferred to the tracing paper, place 
on the table a sheet of bond paper, over this place a sheet of transfer paper, 
either blue or black, and over this again place the tracing paper on which 
you have previously traced the design, as before directed. Now, with an 
ivory style or a piece of wood pointed bluntly for the purpose, go over 
every line of the design, bearing on the lines gently and firmly. Remove 
the tracing and transfer papers and the design will be found transferred to 
the bond paper. You will now proceed to make a perforated pattern of if 



22 



DAINTY WORK FOR PLEASURE AND PROFIT. 



by simply pricking holes along all the lines, very close together, with a fine 
cambric needle. Ladies possessing a sewing machine can make this part 
of the process less tedious by setting into the machine the finest needle 
and sewing, without thread, through all the outlines of design; when finished, 
the result will be a perforated pattern as good as could have been purchased 
from a regular pattern house. 

The material required for transferring is: A sheet of tracing paper, 
costing either five or ten cents, according to size; one sheet of transfer 
paper, fifteen cents; these can be obtained from any art store. The transfer 
paper can be used any number of times until torn, when, of course, it is 
useless. New tracing and bond paper will be needed for each new design. 

After obtaining the perforated pattern, the next thing is to stamp it 
upon the material to be embroidered. And here is the rock upon which 
many a promising attempt has been wrecked; for if the pattern has been 
blurred, or unevenly joined, in case of a repeating design, then the embroi- 
deress will have need of patience, a correct eye for form and distance, and 
some knowledge of drawing, to enable her to remedy the defect of the 
stamping. Remember that a good pattern, cleanly and clearly stamped, is 
half the battle. 

The foregoing instruction in stamping is all the knowledge at command 
of any dealer in fancy art supplies who advertises to do stamping; she 
knows no more than is here told, because there is no more to tell. Some 
dealers, in fact we might almost say all dealers, in art supplies make a great 
mystery about stamping, refusing to do it before a customer, and keeping 
as a profound secret the material used. This is a short-sighted policy at 
best, for the more women know about art embroidery, and the easier it is 
made for them, the more they will do, and as a natural consequence the 
more supplies in that line will be sold, and instead of a dealer having less 
trade she will probably have a hundred per cent more. 

The amateur cannot expect, however, at the first or second trial to 
succeed in getting as good results from her efforts at stamping as a person 
who has made a business of it for years. There must be a certain amount 
of practice to make perfect. 

Many beautiful designs are frequently given in miniature, in books and 
magazines, that one wishes to use; but as they are too small to be practical 



TRANSFERRING AND STAMPING DESIGNS. 23 

we are obliged to pass them by. There is a small instrument called a pan- 
tagraph, which costs from $1.00 to S4.00, according to quality, by means 
of which any design can be reduced or enlarged to any given size. It is 
very simple, and not at all difficult to operate. We show here a very good 




PANTAGRAPH. FIG. 7. 

illustration of one set ready for working. If the design to be copied is 
2x5 inches, and it is desired to make it 8x20, the pantagraph will be set to 
that size. In copying any design, the pattern to be copied will be placed 
at a given point under one pencil and a clean piece of paper under the 
other pencil of the pantagraph. Then, with the right hand, the pencil over 
the design will be moved firmly around its outlines. The corresponding 
pencil over the clean paper will move in unison, only on a larger or smaller 
scale, according as the instrument has been set. Full directions for setting 
and using accompany each pantagraph. These convenient aids to drawing 
can be purchased at any store where artists' supplies are kept. After the 
design has been enlarged, as directed above, the perforated pattern can be 
made according to instructions previously given. In the pages of this book 
we shall frequently give designs for different purposes, and as space forbids 
having them produced full working size, a pantagraph will be useful in 
enlarging them. Generally speaking, the designs so given will require to 
be enlarged five times to bring them up to working size. 

MATERIALS FOR STAMPING. 

The materials used for stamping are many and varied, but we have 
never found anything more satisfactory for general use than artists' oil 
paints put up in tubes — white for colored fabrics, and white with a little 
burnt umber mixed for white materials. There are several liquids on the 
market designed for the same purpose, but the great objection to them is 



24 DAINTY WORK FOR PLEASURE AND PROFIT. 

their cost. The manufacture of stamping liquids is considered a trade 
secret, hence they cannot be made at home; and as liquids cannot be sent 
by mail, the cost of expressage, added to the original price, has put their 
use out of question with the majority of women. Liquids are more espe- 
cially designed for use in stamping on white cotton or linen fabrics, and, as 
they dry instantly, there is no waiting for several hours before the work of 
embroidering can be commenced. Another advantage they possess over 
paint is the fact that the patterns need no after cleaning. Powders for 
stamping are now seldom used, as they will rub off before the work is half 
finished; yet for stamping on silk bolting, where the design is to be painted 
in water colors, there is nothing else that will take their place. For large 
designs that are to be stamped on satin, powder is best, as the oil in the 
paint and liquids is apt to separate and spread beyond the outlines, though 
in the case of paint this danger can be obviated by first placing the paint 
on blotting paper to absorb the oil. In case the powder is used, the design 
should be lightly traced over with a fine-pointed lead pencil. A good 
powder is made by mixing ivory black, gum demar, gum copal and gum 
sandarac in equal parts; pulverize fine and keep in a cool place. 

A good liquid suitable for any white fabric is made by placing a tea- 
spoonful of black or blue printer's ink in a four ounce bottle and filling the 
bottle with kerosene. Be careful to wipe off both sides of the pattern after 
each impression when using the liquid. This liquid is cheap, as any printer 
will cheerfully give the small amount of ink needed, and kerosene is pretty 
sure to be at hand, and it does beautiful stamping. A pounce for either 
powder or liquid is made by tying a piece of felt or flannel over a small 
ball of cotton wool. 

DIRECTIONS FOR STAMPING. 

Place the article to be stamped smoothly on the table. Next lay the 
design, smooth side up, on the material, being careful to adjust it exactly 
in the desired position before you attempt to apply the paint. Now secure 
the two upper corners firmly by weights— flat-irons will do nicely. Squeeze 
out some of the paint on a piece of glass. You are now ready to apply the 
paint to the pattern, which you do by means of a knife blade. Take a small 
amount of paint on the blade and begin at the top; rub the paint on the 
pattern smoothly and gently, always remembering to rub toward you and 



TRANSFERRING AND STAMPING DESIGNS. 25 

from the weights; always move the knife in the same direction, never rub 
it back and forth, as that is liable to move the pattern and cause the stamp- 
ing to look blurred. Never raise the pattern entirely from the material to 
see how it looks, but carefully raise one corner clear from the table and 
look under; let fall into place again and proceed with the stamping until 
every detail of the pattern is transferred to the material. When all is 
finished, remove the pattern; have ready an old paper, place the design 
upon it, and pour a small quantity of benzine on a rag and rub the pattern 
thoroughly, then wipe with a dry cloth. Repeat the operation on the other 
side, and then hold the pattern to the light and observe if the perforations 
are all open and free from paint. If any should be still closed, add more 
benzine and rub until perfectly clean. Never allow a pattern co get dry 
before cleaning, as that would ruin it. Clean at once. With proper care a 
pattern ought to be capable of fifty impressions. Be sure it pays to take 
care of your designs. These directions are to be followed when using 
liquid, except that the pattern will not need cleaning. To stamp with 
powder, place the pattern on the material, rough side up, dip the pounce 
into the powder, shaking off the loose particles that may adhere, and rub 
the pounce lightly over the perforations. When the design is perfectly 
transferred, remove the pattern and on the stamping place a piece of tissue 
paper; over this press lightly a medium hot iron; this sets the powder and 
to a great degree prevents its rubbing off. Do not rub the iron back and 
forth, but lift it when removing to another part of the design. Rubbing is 
apt to cause the powder to run and blur. 

CONVENTIONAL DESIGNS. 

The words "conventional design" will frequently be used throughout 
the different chapters of this work, and so it will perhaps be better to 
explain their meaning here. To conventionalize a flower or plant means 
to draw the geometrical or general form of the leaf with the main details 
and accidental markings omitted, thus converting the natural form into a 
form suitable for ornament only. The designer of ornamental work is not 
bound to be faithful to the minute particulars of botanic life, because he 
and his work are superior to the mere imitation of plant forms. 



26 



DAINTY WORK FOR PLEASURE AND PROFIT. 



Beautiful conventional designs can be obtained from artistic wall paper, 
and designs thus obtained will possess the advantage of not having become 
common by much use. As a general thing the designs on paper bordering 
lend themselves to embroidery better than those on the wall paper proper, 
though beautiful patterns can be obtained here, also. The border pattern 
should be used on curtains or other large articles, where the treatment is 
intended to be bold and broad. Many of these designs are also suitable 
for smaller articles when reduced by means of the pantagraph. To pro- 
cure the design it will be necessary to purchase so much of the paper as 
will show a complete section of the design, which must be perforated and 
then repeated as many times in the stamping as will be necessary to fill the 
space to be decorated. Many magazines and old prints will also furnish 
suitable designs, as previously stated. 




CHAPTER V. 



EMBROIDERY STITCHES. 




SUBJECT that occupies the attention of the beginner 
in embroidery, almost to the exclusion of every other 
idea in connection with the work, is that of stitches. 
This should not be the case. Supplied with the req- 
uisite materials, the first idea should be, not how to 
make this or that stitch, but how to combine this or that 
shade with some other, to produce certain artistic 
effects, which are clearly enough defined in the inner consciousness of the 
worker. So long as we are hampered with the idea of stitches, just so long 
will our work appear stiff and awkward. A piece of embroidery should 
grow and grow, without mental effort, until it has reached its final state of 
complete finish. The work should be but the expression of an artistic idea 
or conception. However, one must begin somewhere in learning needle- 
work as well as in learning to read; and as with the latter we begin with the 
alphabet, learning first the letters then the combination of letters, so with 
the former we begin with certain fundamental stitches, which are to embroi- 
dery what the letters of the alphabet are to the reader. We use them, but 
we never think of them as a thing apart from the work complete, any more 
than we think of the letters which compose a word. 

STEM OR OUTLINE STITCH. 

Outline, or stem stitch, is the simplest and oldest of all the embroidery 
stitches, and it is also one of the most important. It is this stitch which 
was used on the old Bayeaux tapestry, and hundreds of years ago, in the 
days of the Pharoahs, it was employed in Egyptian embroidery. There is 
hardly any limit to the usefulness of this simple stitch, and by its use beau- 
tiful effects are easily obtained, at little expense of time and material. 

There are several varieties of stem or outline stitch, and we will men- 
tion them here, as this seems the proper order in which to classify them. 



28 



DAINTY WORK FOR PLEASURE AND PROFIT. 




y 



First, then, in the list is simple outline stitch, shown in figure 8, then in 

figure 9 we hav^e cording outline, close outline and twisted outline. Fig. lO 

j shows fancy chain outline, and figure 1 1 double chain 

j outline. In working outline stitch, if an even line 

is required, insert the needle in a straight line with 

the preceding stitch. See center illustration in 

figure 9. For the outline of leaves, where a sloping 

effect is desired, insert the needle at a slight angle 

with the preceding stitch. [See figure 8.] If a close 

outline, resembling a heavy cord, is desired, work 

the stitch over a thread; take each stitch at a slight 

angle, and insert needle so that its point will come 

to the surface about midway down the preceding 

stitch and close to it. The first illustration in 

STEM STITCH. FIG. 8. figure 9 wiU make this idea plain enough to be 

easily followed. Twisted outline is made by taking the first stitch so that 

the thread lies to the right of the needle; in the next stitch the needle is 

inserted from the opposite direction. This is repeated, alternating each 

time a stitch is taken; the third illustration in figure 9 shows method of 

working twisted outline. 

Chain outline is often used to finish 

outlines of applique work, and for stems of 

foliage and stalks of flowers. Sometimes two 

rows are used in stalks, one a light and the 

other a darker shade of the same color. Single 

chain is made by forming a loop upon the right 

surface of material, through which the needle 

is passed upward, securing the loop. The 

needle is then passed down very near where it 

is drawn up, the left thumb holding the thread 

so that it cannot be drawn wholly back. 

Another stitch is then taken towards you, 

inserting point of needle in preceding looped stitch; and each time a 

stitch is made leave loop of thread around the needle, as in taking a 

button hole stitch; this forms a link in the chain stitch. Double 




FIG. 9. 



EMBROIDERY STITCHES. 



29 




Fig. II. 



chain stitch is made in the same manner as single chain only the thread is 
twisted by the needle being inserted in a slanting direction. 

Variations of single and double chain stitches are shown in figures 9 
and II. The loops that form the chain in figure 11 are not made in a direct 
line, but slant, first to the right and then to the left. Figure 
10 shows a chain stitch in the center, with loops to the right 
and left. The center of this stitch is made according to 
directions given for chain outline, and the side loops are 
taken from right to left. These varieties are used to finish 
hems, join borders and as fancy joining stitches for rugs and 
crazy quilts. 

In beginning the stalk of a flower, when the work is to be 
solid outline stitch, begin at the lower end of stalk and work 
upward and aivay from you, — see figure 8 — until the junction 
of a leaf or some other interrupting point is met; then take 
the needle under to the other line and work back, continuing 
in this way until the stem is solid. Always work the stalk of a plant or 
flower lengthwise. Reaching a leaf you make use of the 
same stitch to work around the right side to the top, tak- 
ing care that the needle is to the left of the thread as you 
draw it out. When the point of the leaf is gained reverse 
the operation by working down the left side toward the 
stalk again, keeping the needle to the right of the thread 
instead of to the left, as in going up. This method supplies 
the necessary serration to the edge. 

KENSINGTON STITCH. 

The next stitch to be considered here is the "Kensing- 
ton," the proper name for which is "feather stitch;" but as 
the public have chosen to christen it " Kensington," from the fact that it 
was taught and used in the Royal Art Schools of Kensington, England, we 
think it better in these pages to do the same, for as " Kensington " the 
stitch is familiar to thousands, while as "feather" very few would recognize 
it. Figure 12 shows section of leaf begun in Kensington stitch. In work- 
ing, care must be taken to keep the outside edge of design smooth and 




Fig. 10. 



30 



DAINTY WORK FOR PLEASURE AND PROFIT 




even. Do not have all ot the stitches of regular lengths, but hav^ 

some of them long, and some short, with odd 

lengths to fill unexpected spaces. Figure 13 

shows portion of flower worked; the direction of 

stitches and mode of blending shades are here 

clearly indicated. Kensington effects are intro- 
duced in most of the conventional art needle- ^ 

vvork, though less solid embroidery in natural | 

shadings in the above stitch is now done than at 1 

any time since it first became popular. ' 

Floral designs of natural shape and size look- 
better when worked in either solid Kensington or 

long and short 
stitch, which is 

but a modification of the former. All 
flowers having large petals and leaves 
are especially effective wrought in solid 
Kensington stitch. In a design having a 
number of small leaves satin stitch can be 
happily combined with the Kensing- 
ton. In this case the small leaves onl\- 
would be worked in the satin stitch. 
Solid Kensington is not so well adapted 
^3' for working out large conventional scrolls, 

out should rather be confined to natural floral designs in which natural 

shading is desired, as indicated above. 



AX^ 


B^ 




m^ 


f#, 




f ' ■ >^ 


X^^ 


\^J\^ 



Fig. 12. 



SHORT AND LONG STITCH. 



Short and long stitch is another mode of working that is largely used, 
and consists of the same stitch taken three times side by side, but in dif- 
ferent lengths, keeping the outline firm and even. It is a modification of 
Kensington, and called b)- some the half-Kensington stitch. There is this 
difference, however, it is taken through the material, like a satin stitch, 
'eaving as much silk on the wrong side as is shown on the right. The 



EMBROIDERY STITCHES. 



31 



length of the longest stitch depends upon the size of leaf or petal you aie 
working; if a wild rose 
petal is in process of con- 
struction the entire petal 
should not be worked with 
stitches longer than one- 
quarter of its entire depth. 
Begin in center of top edge 
of petal, take a regular 
over stitch to the depth 
desired, take another back 
to top edge, but a little 
shorter than the first; the 
third is shorter still; then 

the three stitches are 

« 

repeated, and so on. Work 

from center top edge of 

petal to the right, then 

go back to center and work short and long stitch, fig. 14. - 

to the left. This gives a better effect than where the work is begun at one 

side of petal and carried to the opposite side. The irregularity of the 

stitches must be made at inner part of petal or leaf; the outside edge must 

be kept even and smooth. 

The above stitch is specially suited to thin fabrics and where a light and 
dainty effect is to be secured, but it is used on both light and heavy mate- 
rials with good effect. With the outline stitches and the Kensington and 
half-Kensington stitches thoroughly mastered an almost unlimited amount 
and variety of decorative needlework is within your reach. In fact, the 
greater amount of embroidery shown at the rooms of Decorative Art Soci- 
eties in this country and England is wrought with the above-mentioned 
stitches alone. 

SATIN STITCH. 

Satin stitch is that used in all the old French embroidery on silk and 
*^annel. It is also sometimes effectively combined with the Kensington 




32 



DAINTY WORK FOR PLEASURE AND PROFIT. 

1 




stitch, especially in the case of small leaves 
and flowers. It is also used alone and in 
combination with outline and dotted stitch 
for initials. Satin stitch is made by passing 
a thread from one outline of design to the 
other, back and forth, as shown in Figure 15, 
leaving as much material on the wrong as on 
the right side of the work. The pattern 
should be first run with filling stitches, to give 
the work, when finished, a slightly raised and 
rounded effect. In working a leaf that has a 
strongly veined center, work from one outside ' ^ 

edge of leaf to center of leaf at an 

angle, then from the opposite outside 

edge to the center again. This method 

makes the veining sufficiently plain. 
Figure 15 is designed to show 

the manner of 

taking the stitch 

rather than how 

it is to look 

when finished. 

The surface of 

the satin stitch 

should present 

a smooth, com- 
pact and even appearance. Figures 16 and 17 give a 
better idea of satin stitch when finished. ^^^- ^7- 

BUTTONHOLE STITCH. 

This stitch is used in working scallops in PVench embroidery on silk, 
flannel and cotton fabrics, and also to finish outlines on Roman and applique 
embroidery. 

In using buttonhole stitch to work scalloped edges, the point or seal, 
lop must first be carefully stamped or traced upon the material, after which 




FIG. 16. 




EMBROIDERY STITCHES. 33 

two rows of stitches should be lun in to define both upper and under edge 







FIG. 18. 



of scallop. It is well to then fill in be- 
tween these two rows of stitches with 
another row or rows, according to depth 
of scallop, of long loose stitches of cotton. 
- This will give the scallop a heavy, rich 
and raised effect, besides adding to the 
durability of the edge. Figure 18 will show method of defining edge of 
scallop, also method of filling in between. 

Figure 19 shows method of working button- 
hole stitch as a simple outline. It will be seen that 
the needle should pass through the material just at 
the edge of the top thread, coming out under the 
lower line, while the thread is held by the left 
thumb, a little to the right of where the needle is 
to come through, so that as the needle is drawn up a loop is formed which 
fastens itself. In working buttonhole outline for Roman embroidery th-^^ 
stitch is usually worked over a German cord; and in articles where the 
material is to be cut away from the edge the buttonhole short and long 
stitch is effectively used. This has the same effect as the short and long 
stitch previously shown, except that the edge is buttonhole stitch. Figure 
19 shows this stitch and method of working. 




FKj. 19. 



SPOT STITCH. 

Spot stitch, like buttonhole and satin stitch, is used in French embroi- 
dery, and is made by working over and over, with regular satin stitch, 

^ the stamped circle or spot. It is better to 

begin in the middle of one edge of spot, 

' and work one-half the circle, then return 

to the center and work the remaining por- 

" tion of the circle. If the spot is to be 

It- ■ - .-^ - -J slightly raised it will be necessary to work 

FIG. 20. it over twice, in reverse directions. The 

unfinished spot in figure 20 will give th-e correct idea for working 




34 



DAINTY WORK FOR PLEASURE AND PROFIT, 




ANTIQUE EMBROIDERY. 

This illustration gives a stitch used in heavy embroidery and, unlike 

satin stitch, the veins of the leaves are 
outlined while working the stitch. The 
cut shows very clearly the manner of 
forming the stitch, which is worked upon 
an outline of stem stitches, the vein also 
being defined in the same way. This 
FIG. 21. work is much used in borders of a con- 

ventional design, where a figure or scroll-work is to be made more promi- 
nent than the rest of the pattern, and an outline of some fancy stitch, like 
couching or chain, is often placed around the figure. 

PERSIAN EMBROIDERY. 

Persian embroidery is a showy stitch, much resembling braiding. The 
material used may be either a strand of tapestry wool or three strands of 
rope silk threaded in the needle. It is a 
great addition to designs in applique, the 
section here shown representing a small 
portion of a palm leaf. This work ic; in- 
troduced in mantel lambrequins, portieres, 
table covjrs, scarf-tidies, and in decora- 
tions of this work small gilt beads, spa.^ 
gles and gold thread are very appropriate 
be made with this stitch. 




FIG. 22. 

tions. A heavy cording can 



FRENCH KNOT. 

This stitch has the merit of great antiquit)-, app.^^, ng in early eccle- 
siastical embroideries to represent the hair of "men and a ^*^^els," as well as 

in elaborate landscape spec.xens of the 

time of James I, when it came into play for 

the foliage of trees and shrubs; aL^o, ii 

some ancient Chinese embroidery executed 

FIG. 23. entirely in knots skillfully disposed. De- 

ccribing certain examples of the latter, a recent writer observes that the design 

appears to have been printed in flat, low colors on a cotton fabric, and that 




EMBROIDERY STITCHES. 



35 



over the ground thus diversified are worked knots of silk, which have the 
effect, at a short distance, of a stippled drawing on a large scale. The 
flesh in the figures and some other portions of the design are worked 
entirely in close knot. To-day. French knot is of greatest importance in 
fine work; it is almost always used in combination, seldom alone. As it is 
such an important member of our family of stitches it should be thoroughly 
and carefully practiced. Our illustration shows how it should look when 
finished rather than the mode of working it. The following will be 
readily understood: Bring the needle to the surface of the material from 
the wrong side; bring it up in the exact spot where the knot is to be when 
finished. Take the needle in the right hand, hold the thread firmly in the 
left in a straight line from you, then twist the thread around the needle 
three times, now put the needle down exactly through the place where 
it was brought up, still keeping hold of the thread in left hand until all the 
slack thread has been drawn through, then release the thread and pull 
through with the right hand simultaneously. This completes the knot, 
which should present a compact and smooth appearance. This stitch is 
used for filling center of flowers, for underlaying raised work, for golden 
rod, thistles and cat-tails, on wash goods and also in initials. 

COUCHING STITCHES. 
Couching stitch is very simple, but its uses are many and varied, and 
it is quite as important in our alphabet of embroidery as the letter "a" in 
the alphabet of our language, and must be 
learned. While very simple, it is yet one 
of the stitches that require our utmost 
care in the making, as all its beauty de- 
pends upon the neatness with which it is 
wrought. The simplest use to which this 
stitch is put is to couch, or fasten down, 
Tyrol cord, art cor-^ or couching silk, to 
form outline of design — see figure 24; also, 
to couch down gold thread on church work, 
and to form patterns by means of laying straight lines 
FIG. 25. of silk and couching over them at intervals with silk 

of another color or shade. The couching can be done straight 





FIG. 24. 



36 



DAINTY WORK FOR PLEASURE AND PROFIT. 



over the laid threads; that is, the needle will be brought up on one 
side of the thread to be fastened down, and put down exactly opposite on 
the other side of thread. By this means the thread is secured to surface 
of material; but the fastenmg or couching stitch must be placed straight 
over the thread to be so fastened, as a little slant to one side or the other 
would ruin the effect. Figure 25 shows the idea we wish to convey. 
Another method of fastening the couching silk, now so popular, is to use 
etching silk or wash twist a shade lighter, and with it form couchin^.; 
stitches diagonally across the couching silk, taking care to place a stitch 
into every twist of the silk you are couching down. The effect i*^ 
beautitul. 



.JK 



^^^ 



HEMSTITCHING. 

Hemstitching is at once the most elegant and useful accomplishment 

of the needle worker. The ends of towels, sheets and pillow slips, as well 

as articles of mere ornament are, or should be, finished with a row of hem 

stitching. This is not one of the things that can be left to personal choice, 

for custom has decreed that the refined housekeeper shall at least have the 

hems of her best table and bed linen hemstitched, even if they are guilt- 

-_._,. ^^^__,,._ — _ — - - j less of every other form of art needle- 
s'''' ■ ■■■ ■'■■■• . '":' (;!',';■■ '"'• ■"*- :.. J;1 

; work. There are many methods of hem- 
stitching, but of the many we find the 
following gives most satisfactory results: 
Measure the depth you wish the hem, and 
then at the point where the edge of hem 
will come when turned and basted, pull 
two or three threads; turn the hem, and 
FIG. 26. beginning at the left edge of work pass 

the needle around two or three of the threads, having the point of the 
needle to the left, then reverse the needle so that it will point to the right, 
and catch the edge of hem; repeat this until the hem is completed. If 
both edges of the drawn threads are to be hemstitched, repeat the operation 
on the opposite edge. P^igure 26 shows method of working, and as it is 
very simple can be easily followed. 




EMBROIDERY STITCHES 37 

SPANISH LAID WORK. 

This style of work is very beautiful for working borders to center clotl. 
for stand, for scarf ends and for cushion covers, and is an application of 
couching stitches. Figure 27 shows the manner of working border in 
Spanish laid work. For this purpose either a plain border or large scallop 




SPANISH LAID WORK. FIG. 27 

is used. For our purpose we have selected the scalloped edge. The seal- 
lop is first filled with either silk or linen threads, laid straight across from 
one outline to the outline opposite, being careful to carry them across in a 
perfectly straight line; place the threads so close together that the surface 
of material does not show, yet be careful not to crowd them, one upon 



38 



DAINTY WORK FOR PLEASURE AND PROFIT. 




another. If the work is being done upon a white linen or cotton wash fabric, 
then for the straight lines use white Bargarren art linen. Thread an 
arrasene needle with a strand of the Bargarren art thread, bring the needle 

up to the surface at the right side of scallop, close 
to the point. Carry across and put the needle 
down through the opposite outline; bring needle 
up on same side, about one-thirty-second of 
an inch from where it was passed down, and 
carry it across to the right outline and put 
down; repeat this until the siarface is filled; this 
will leave all the threads on the right side, and 
none on the wrong, except the tiny stitch made 
on the outlines by putting the needle up and 
down. 

^^*^- -^- After all the lines are evenly and perfectly 

laid over the surface of pattern, thread a No. 8 round-eyed needle with 
etching silk; begin at the point of scallop and 
couch one stitch over the first laid line, exactly 
in the center; then over the next laid line 
couch two stitches. Be careful to observe that 
no two couching stitches come exactly opposite 
each other, but come in alternate spaces. The 
couching thread may be either white or any 
color preferred. If fancy couching stitches ^^"^^ "9- 

should be preferred to those shown in figure 27 
figures 28, 29 and 30 will offer a pleasing variety. 
The threads that are to be couched over should 
in all cases be larger than that used for the 
couching. The outline of scallop should then be fin- 
ished with a buttonhole stitch worked over a 
German cord; and the diamond and oval spaces 
I'Hi. 30. should be filled with either wheel stitch or spider 

web; both these stitches being also used in drawn work they will be 
found fully described in the chapter devoted to that subject. The material 
should be cut away from back of the wheel or spider web. 







EMBROIDERY STITCHES. 39 

PLUSH STITCH. 

Plush stitch is used for raising portions of certain designs above the 
surface of material and is employed principally in working raised cat- tail 
sumac, goldenrod, coxcomb and flowers of a similar nature. A foundation 
is first made for the plush stitch by means of French knots made of zephyr 
or yarn, which afe worked over the portion of flower to be raised; they 
should be placed quite close together, and yet should not be crowded; of 
course in placing the knots care must be taken to follow and preserve the 
outline of design perfectly. For making the plush stitch, rope silk or filo 
floss should be used. Cut the skeins of silk into equal lengths, according 
to the height you desire to raise the flower; after the silk is cut, place 
between each French knot two of the strands, crossed like an X, sew them 
firmly down to foundation and proceed to fill in each space between the 
knots. If the flower requires to be very thick and velvety, instead of 
crossing two lengths of the cut skein, double the lengths, using four instead 
of two pieces between each French knot. After the flower is completed 
whisk the silk out with a brush! broom and clip off evenly. Plush stitch 
is used in raised embroidery only. 

FILLING STITCHES. 

Filling stitches, so called because they are used to fill in the surface of 
flower petals and foliage and the surface of conventional designs, which 
have their outlines worked with short and long stitch, ciitline, or button- 
hole short and long stitch. This method of embroidery belongs to the 
old Saxon days, and in fact used to be called Saxon embroidery. The 
stitches used for filling are numerous and we will give a slight description 
of those most commonly employed, with a few illustrations which will be of 
assistance in copying them. 

Honey-comb and Brick Stitches. 

First on the list of filling stitches in point of general utility is the 
honey-comb, and while this stitch cannot be called strictly a filling stitch, 
from the fact that it is often used to cover backgrounds on which a design 
is worked in relief, yet it is more commonly used as a filling for petals and 
leaves and for circles and wide scrolls in conventional designs, and is 



40 



DAINTY WORK FOR PLEASURE AND PROFIT. 





therefore entitled tc a place in this classification. Honey-comb stitch is 

shown in detail in figure 32, while figure 33 shows 

the stitch applied to filling pansy petal, after the 

edge has first been cutlined with the button- 
hole stitch, each petal being 
treated in the same manner. 
The method of working this 
stitch will be seen from figure fig. 31. 

32. It is first, a row of buttonhole stitches placed 
at regular intervals apart; the second row is taken 
into the bottom of the first row, and so on. Pulling 
each stitch down in the center as it is made, is what 
gives the honey-comb effect. It is very effective 
when used for filling surface of large leaves. 
FIG. 32. Brick stitch is made in the same manner as 

the honey-comb, except that the threads are not pulled down in the 

center as the stitch is completed, but the thread is allowed to 

remain straight, showing a ver- 
tical line over a horizontal. 

Figure 31 will show at once 

how the stitch should look 

when finished and in process 

of construction. Brick stitch 

can be employed for any of 

the purposes for which the 

honey-comb is suitable. 

Brick and honey-comb 

stitches are also frequently 

used to cover the design in 

Roman embroidery and add 

much to the richness of the 

work. For this purpose the 

filo floss or Royal floss silk can honey-comb stitch, fig. 33. 

be employed, especially if a light, soft effect is sought, though where it 

is desired to have the work stand out in relief etching silk should be used. 




EMBROIDERY STITCHES. 



41 



Simple Star, Daisy Star, and Crowsfeet. 

The three stitches named above are used for filling purposes, and as 
they are easily made and require but a small amount of material, are much 
used where large surfaces are to be covered. 

Figures 34, 35 and 36 will show clearly the mode of working. The 
simple star, figure 34, is made by starting from a center and carrying out 





^ ^ ^ ^ ^ ^^ 
^ ^ ^ ^ ii H 

SIMPLE STAR. FIG. 34. DAISY STAR. FIG. 35. CROWSFEET. FIG. 36. 

from it six or seven radiating lines, bringing the point of needle back to 
center each time a stitch is taken. The daisy star, figure 35, is made by form- 
ing four daisy loops as shown in illustration and then throwing out between 
each of these loops a single stitch, shorter than the looped stitch. A 
daisy stitch is simply a buttonhole stitch taken with a long narrow loop 
and fastened at the loop end. In making the crowsfeet, figure 36, the cen- 
ter line is made first and then a shorter one on each side at a slight angle. 

Grouped Star Stitches. 
The two group stitches here shown are modifications of star stitches, 
ard as the illustration shows the manner of placing them we will simply say 

here that the two figures, 37 and 

38 can be effectively used to fill space 

between outlines of scrolls and for 

small surfaces; also for stems and 

stalks of conventionalized foliage, 

where the space between the two 
outlines is so great as to require something more than the outline stitch. 

Darning Stitches. 

Darning applied to decorative needlework produces beautiful results, and 
as the work is simple, quickly accomplished and little trying to the eye 





FIG. 37. 



FIG. 38. 




42 DAINTY WORK FOR PLEASURE AND PROFIT. 

sight, it is a popular method of embroidering. Darning stitches are used 
as a means of producing a decorative background for embroidery done in 
outline or short and long stitch; they are also used to fill the petals and 
foliage of designs. In figure 39 we show a leaf filled 
in with darning; the outline of leaf being treated with 
outline stitch, which throws the darned work into 
relief. The ordinary darning or running stitch is here 
used, care being observed to take just as little of the 
FIG ^Q material on the needle as possible and to keep the 

3titches even in length. Be sure to alternate the stitches; that is, bring a 
stitch showing the silk or linen thread opposite a stitch formed of the mate- 
rial that was taken up on the needle in running or darning in the preceding 
row. In darning, follow the general curve of leaf or petal; when the petal 

and the nature of the material. fig. 40. 

Where the entire background is darned, the design is first worked in eit!icr 

short and long stitch or outline. 

The effect of darning leaves, stems and flowers with one strand of filo 
floss on bolting silk, and the whole design outlined with the same silk, 
must be seen to be appreciated; anything more dainty and fairy-like can- 
not be conceived. For this style of work two shades of each color used 
will be needed, one for the darning and one for the outline stitch that is 
used to outline all petals, leaves and stems. Use the darker of the two 
shades for outlining. 




EMBROIDERY STITCHES. 43 

Janina Stitches 

Different effects can be obtained with this stitch, as will be seen by 

referring to figures 41 and 42. Figure 41 shows the stitch taken across 

the space to be filled from edge to edge; while figure 

42 shows the stitch taken from each outline to the 

center of space; this presents a lighter and more 

open effect. Janina stitch is suitably used on sheer 

material like bolting silk, muslin and lawn. As will 

be seen, this stitch is worked entirely on the sur- 
face, except where the short back stitch occurs 

along the outline. To work: begin at top of leaf 

and pull up the needle from the wrong side, exactly 

in the center of the point; carry the thread to the 

right side of leaf nearly opposite to where it came 

up, and in the exact outline' take a tiny backstitch, 

cross the thread to the left outline and in an exact * fig. 41. 

line with the first stitch, take another backstitch, cross to the right 

edge again and repeat, taking care to pull the thread up through the hole 

made in making the preceding stitch on that 
side of leaf; repeat this crossing from right to 
left, until the base of the leaf is reached when 
the thread must be fastened invisibly at the 
FIG. 42. side. To work figure 42 the same method is 

employed except that each stitch is carried from the side to the center. 

Single and Double Basket Stitch. 

To work double basket stitch, see figure 44, lay straight lines across the 
surface of material, from one outline to the one opposite, at regular dis- 
tances apart; with silk a shade lighter, but of the same color, begin at the 
top of leaf and over the first straight line work two basket stitches at an equal 
distance apart as follows: put the needle up through the material at the bot- 
tom of the first line, carry the thread across the second line and put the needle 
down close to the cross line; repeat this three times, placing the threads 
close together, this constitutes one basket stitch. Now, between the two 




44 



DAINTY WORK FOR PLEASURE AND PROFIT. 



basket stitches, worked over the first and second lines, carry another over 
the second and third, then over the third and fourth, and so on until space is 

filled. The outline of leaf may- 
be finished with heavy outline 
stitch, and the leaf be also 
veined down the center, but 
this is a matter of fancy. 
Figure 43 shows a convention- 
&tltjj*|il:[ilji| ^^so^ Jf alized lily worked over in 







single basket stitch, which is 
wrought in the same manner 
as above described except that 
instead of carrying over the 
FIG. 43. lines three threads close to- 

gether a single thread is used, and the outline is finished by a row of art 
cord sewed down with invisible stitches. 

Close Basket Stitch. 
This stitch is rich and effective when applied to large unbroken spaces 




CLOSE BASKET STITCH. FIG. 44. DOUHLK HASKET STITCH. 

namely: ovals, broad or long pointed leaves without many serations, and 
portions of conventionalized designs that need accentuation by a heavy 



EMBROIDERY STITCHES. 45 

massed effect of color. The materials for working close basket stitch, 
depend upon the background; if that be of heavy fabric, then rope silk and 
art cord will be most suitable; if, however, it is desired to ornament portions 
of design on linen or light satin or silk, then wash twist will answer the 
purpose better. At all events the silk used should have a slight twist. 
To work: first lay the darker of the two shades of rope silk evenly ;md 
close together from one edge of outline to the other, back and forth; be 
sure that the threads lie evenly, side by side. With the next lighter shade 
of silk weave over and under, in basket darning, crossing four strands of 
silk each time. The weaving is done with four strands of silk, one at a time. 
Figure 44 shows double basket and close basket stitch applied to a 
scroll design. The leaf to the left shows close basket, the leaf to the 
right shows double basket. In this design the outlines are finished with 
art cord and the center of leaves are finished with outline stitches or art 
cord sewed down with invisible stitches. Figure 44 shows both methods. 

D'Alencon Bars. 

The above-named stitch is one much used for filling in leaves and 
petals which are long and pointed, and for star-shaped flowers it is espe- 
cially suitable. The method of working is as follows: Along the two sides 
cf petal or leaf work a row of loose buttonhole stitches; as the beauty of 
the work will depend upon the regularity 
of these stitches, great care should be exer- -^j^asdoj^y -g^/^ ^1^ 
cised in this part of the work. The D'Alen- 
con bars are now worked into the button- 
hole stitches by passing the thread four 
times over and under each buttonhole stitch. pj^ .- 

The length of the bars is regulated by the space between the two opposite 
edges. When the thread has been passed over and under for the fourth 
time, making four bars, it is completed by making a tight buttonhole 
stitch, and the thread is then passed through to the next loose buttonhole 
stitch. Figure 45 shows D'Alencon bars applied to a leaf. 

SPIDER WHEEL. 

For filling portion of design in Roman embroidery the spider wheel 
here shown is beautiful, and can be quickly accomplished. In working. 




46 



DAINTY WORK FOR PLEASURE AND PROFIT. 




cross the threads six times from the edge of space to be filled, and at equal 
distances apart. These form the spokes to the wheel. When the six 
threads are in, the needle will be in margin of design. To reach the center 

twist the needle on one of the threads 
forming the spokes. To work pass 
the needle wider one spoke, and then 
pass around again loosely in the 
reverse direction; pass the needle 
over the second spoke and pass 
around in a reverse direction loosely; 
then pass needle under the third 
FIG. 46. spoke, and repeat the operation until 

the six threads or spokes have been worked, and then repeat as many rows 
as is desired. The cloth back of this wheel should be cut out, and for 
this reason the edge should be first worked with buttonhole stitch. Figure 
46 shows method of working. 

Point de Reprise. 

This stitch is admirably suited for filling large leaves and portions of 
conventional designs. A background for this stitch is first prepared by 
filling the space to be worked with 
threads placed parallel and crosswise 
from one outline of design to the 
other, to form triangular spaces. 
Thread the needle with rather a long 
thread, and on each triangle formed 
by the laced threads weave over and 
under, from one side of the triangle to 
the other, until the base of triangle is 
reached, then pass the thread on the 
wrong side to the next triangle, and 
repeat. Figure 47 gives an excellent 
idea ot the mode of working, as well as the result when completed. This 
stitch, as well as the rosette and spider wheel look best on heavy material 
and done with art cord. 




FIG. 47- 



EMBROIDERY STITCHES. 47 

Rosette Stitch. 

The above stitch is the most effective filling stitch we have, and suit- 
able for all the purposes for which point de reprise is used. This stitch 
also looks best done in art cord. Rosette stitch is made as follows: 

Mark off the background to be filled into square spaces, a little less 
than an inch apart, by carrying the silk from one outline of the design to 
the opposite outline and crossing these threads, at equal distances, from 
the opposite outlines. Fasten the lines to the foundation at the point of 
intersection by couching down with a fine thread over both lines; this will 
give firmness to the work when it 
is finished. Thread the needle 
with the same cord or silk as has 
been used in laying the lines; 
bring the needle up from the back 
of the material, and on the left of 
one of the intersecting lines, close 
to the couching stitch. Pass the 
needle under the line, throw the 
thread over to form a loop, and 
pass the needle under the same 
line again and from the same side 
as at first, and through the loop fig. 48. 

formed in throwing the thread over; this forms a buttonhole stitch over 
the line, which must be drawn tight and close to the couching stitch that 
fastens the lines, at their point of intersection, to the material. Pass the 
needle under the next line and on to the third, where the same operation is 
to be repeated. The rosette has now a buttonhole stitch worked over two 
of the opposite intersecting lines; the two remaining lines must be treated 
in the' same manner. This finished, the rosette has been worked once 
around; to complete the stitch it must be worked twice around, forming 
two raised or buttonhole stitches on each of the intersecting lines. When 
the stitch is finished, pass the needle through the stitch to the under side of 
the material, and on to the next intersecting lines. Work all the lines that 
cross each other in the same manner, and finish the design by outlining with 
art cord or rope silk. 




48 



DAINTY WORK FOR PLEASURE AND PROFIT. 



The foregoing pages on "Stitches" contain all that is necessary for ihe 
most advanced worker. None of the embroidery stitches are difficult in 
the execution, but all require extreme care and neatness in working, and a 
certain perception of the fitness of things on the part of the needlewoman, 
so that each stitch used shall express the worker's thought and meaning in 
the best and clearest manner possible. A knowledge of the relation of 
different stitches to different forms of work may be had from a careful 
studv of the following chapter, viz.: "Application of Stitches." 

There are many different lace stitches which can be adapted for em- 
broidery, with excellent effect — especially for filling stitches; but as a rule 
they are too intricate in detail to suit the patience or lack of patience of 
the modern worker. 

In closing the subject of stitches we will make one more plea for the 
outline stitch. From time immemorial the most artistic work has been 
wrought by its use alone, and indeed all the wonderful and beautiful 
Egyptian embroideries were outlined or etched. There is scarcely 
a limit to the number of artistic effects that can be obtained by its use. 
Then, too, its simplicity is so in its favor, and indeed forms one of its chief 
claims to the needleworker's consideration. Outline stitches, then, should 
be practised diligently, until they can be made to express every variety of 
feeling. The least bit of carelessness will be fatal to the beauty and har- 
mony of the design, and awful havoc can be wrought on an angel's face by 
a stitch too short or too long in forming nose or lips. 



CHAPTER VI. 



APPLICATION OF STITCHES. 

AVING given descriptions and illustrations of all the 
essential stitches used in embroidery the first question 
we are sure to be asked is: 

"How shall we know when and where to use the 
different stitches on different designs?" 

This is a far-reaching question, and one that would 
require pages of illustrated matter to answer in detail. 
The best we can do is to give, in general terms, the 
places where certain stitches can be most appropriately 
used. In embroidery one must have ideas of one's own, 
else the work will be, more or less, copies of oftentimes 
poor originals. In Kensington embroidery, saiin stitch 
is often employed in certain portions of designs, notably 
in the case of long, pointed leaves and in the tiny petals of the forget- 
me-not, and other flowers of the same description; again, in working 
cat-tails, thistles and golden rod, the flowers will usually be worked in 
plush stitch, while the leaves may be wrought in Kensington stitch. 

The most daring combinations of stitches are allowable, provided the 
result justifies the means employed, and a harmonious ensemble of form, 
light and shade is secured. 

The stem or outline stitch enters into almost all forms of embroidery, 
either in the formation of stems or outline of leaves. The short and long 
stitch is used in conjunction with stem and darning stitch, and so on 
through the catalogue of stitches. 

Filling stitches are used most appropriately on wash materials and for 
filling conventionalized designs used on table cloths, doyleys, table runners, 




50 DAINTY WORK FOR PLEASURE AN'D PROFIT. 

tray and carving cloths, fancy towels, pillow shams, dresser scarfs, toilet 
articles and for filling portions of designs in Roman embroidery. For these 
purposes the filling stitches are usually made with either etching silk or 
Real Scotch linen floss. No. 4, though for some stitches, notably janina, 
and for darning on fine sheer fabric, filo floss or Royal floss is preferable, 
while for French knots, where used in prominent portion of design, rope 
silk or rope linen can be appropriately used. Darning stitch can be used to 
form a background to throw design into relief; for darning a dado or frieze 
for curtain or portiere. Any conventional design wrought out with any suit- 
able filling stitch, or with short and long, outline, or buttonhole short and 
long stitches can be used in connection. A combination of filling stitches is 
perfectly proper and very effective on the same piece of work. Thus in 
figures 45 and 51 we have a combination of several filling stitches. 

Couching is frequently combined with satin stitch, and in fact enters 
largely into all forms of flat embroidery, especially in ecclesiastical work, 
and the combination is not limited to any one stitch, as it is used with but- 
tonhole, short and long and darning stitches, and on monograms and 
initials. 

For embroidering underclothing, infants' trosseaux, cotton, flannel and 
cashmere, French embroidery is almost exclusively used. By French 
embroidery we mean that class of work done with a combination of satin, 
couching, buttonhole, spot, eyelet, dot or seed stitches and hem stitches. 
Many ladies embroider their initial on handkerchiefs, napkins, pillow 
slips, sheets, etc., and finish every hem with hemstitching in pure 
white embroidery cotton. It is a dainty fancy, and will give an air of 
refinement to the most commonplace surroundings. For this purpose spot, 
seed, satin and outline stitches are more commonly used. For embroidery 
on silk, satin, velvet or cloth the filling stitches are not so appropriately 
used. Short and long stitches, darning stitches, couching, applique, solid 
Kensington and outline are here in better taste. Sometimes one sees 
beautiful specimens of French embroidery on these fabrics, which of course 
is always in good taste, but the amount of work required to complete a 
design done in satin stitch, every thread of which must be laid "on honor," 
is a task not often undertaken in these days of hurry and scramble, where, 
if the need of a piano cover is discovered on Monday morning, Saturday 



APPLICATION OF STITCHES. 



5^ 



night finds the coversupplied, decorated with needlework. In the days of 
Edward the Confessor a fair dame thought nothing of applying herself dil- 
igently and patiently to a single piece of embroidery through the months 
of an entire year. But such work is preserved as priceless heirlooms in 
private families and public museums, while we are obliged to confess that 
very little of our modern embroidery is wrought with such perfection of 
detail. 

In the matter of filling stitches the utmost latitude is allowed as to 
choice, and we show here a few designs filled in with stitches which have 
been described in the previous chapter. Our arrangement is not at all 
arbitrary but merely given as suggestive for pretty and artistic com- 
binations. 

COMBINATION OF SPOT, AND SINGLE DAISY LOOP. 

Figure 49 shows section of conventional design filled with single 
daisy loop, cross stitch, spot stitch, diamond couching with French knot in 




FIG. 49. 

center and outlined edges. This method of applying these filling stitches 
will be found quite simple, and as they require but little time and material 
will be found economical as well as effective. 



52 DAINTY WORK FOR PLEASURE AND PROFIT. 

LEAF BORDER SHOWING COMBINATION OF STITCHES. 

The design shown here is a section of border of leaves for lunch cloth. 
The edges of leaves are finished with buttonhole stitch over German cord, 
which can be clearly seen. The surface of upper leaf is then filled with star 




LEAF BORDER SHOWING COMBINATION OF BUTTONHOLE, HONEY-COMB, DAISY STAR AND 

CROWSFEET STITCHES. FIG. 50. 

stitch. The leaf at the right of corner leaf is filled with crowsfeet stitch, while 
the leaf at left of corner is filled with honey-comb stitch. This method of 
filling can be repeated throughout the entire design of which our illustra- 
tion shows but a section, and other filling stitches not shown here can be 



APPLICATION OP^ STITCHES. 



53 



used in connection, but the ones here shown are the simplest and most 
popular of the filling stitches, and are used on all conventional designs 
where solid work is not intended — indeed, they may be used on a design 
having solid embroidery on some of its parts. 



FILLING STITCH FOR APPLIQUE. 

Figure 51 is especially suited for applique work. The leaf and vine is 
first stamped on velvet which is then mucilaged to a foundation of 
silk or cloth, after which the outlines of pattern are finely run to a founda- 
tion with a silk 
thread. The vel- 
vet is then cut 
away close to the 
stamped lines, and 
the edges are fin- 
ished with a heavy 
silk cord couched 
down; the center 
of the leaves are 
then worked with 
coral stitch in ara- 
sene or chenille. 
Any other of the 
filling stitches 
could have been 
used here with 
equally good ef- 
fect, providing silk 
thread had been 

J • 1 r FIG- 51- 

used m place of ^ 

arrasene or chenille, as these two last-named materials do not lend them- 
selves to filling stitches with good effect. 

The design here given is, of course, only a portion of complete vine, 
but sufificient is shown to clearly explain mode of working. As to colors, 




54 



DAINTY WORK FOR PLEASURE AND PROFIT. 



one must use a little judgment and taste in the selection. If the leaves are 
of dark green velvet the silk used should be of a much lighter shade of the 
same, while if the leaves and vine be cut from ecru or cream colored velvet 
the couching and rope silk used may be in all the various tints of autumnal 
foliage, yellow, brown, green, olives, terra cotta, and so on through the list. 
There is no limit to the changes that can be rung on such a pattern. 

In the matter of fancy filling stitches the utmost latitude is allowed as 
to choice. 

APPLICATION OF KENSINGTON STITCH. 
Kensington stitch may be appropriately used for working out any 
floral design, no matter where the finished work: is to be used. It is also 

sometimes used for working ani- 
mals, human figures, and land- 
scape details, such as rocks or 
hills, where a massed effect of 
light and shade is desired. For 
ornamenting articles of dress, 
such as dresses, wrappers, jack- 
ets, etc., it is especially beautiful, 
and ladies who can embroider in 
either Kensington or satin stitch, 
can indulge in many a beautifully 
ornamented garment that would 
be beyond the reach of theii 
more wealthily endowed sisters 
who are without this accomplish- 
ment. Figure 52 shows design 
suitable for Kensington stitch 
ri(j. t;2. stretched in the hoops ready for 

embroidering. When embroidering dress collars, vest fronts, etc., with this 
stitch, the material should be first stiffened by backing it with crinoline. 

APPLICATION OF SHORT AND LONG STITCH. 

Figure 53 shows a very appropriate application of short and long stitch 
and is only one of hundreds of similar instances where this stitch can be 




APPLICATION OF STITCHES. 



D^ 



effectively applied. In general, short and long stitcn can be used where- 
ever Kensington stitch would be appropriate, and also in many instances 
where the latter stitch would be too heavy, notably, in portions of con- 
ventional designs where 
something a little more 
elaborate than simple out- 
line stitch is desired. Fig- 
ure 53 shows a chair cush- 
ion, flower-shaped, made 
of white lawn. The sur- 
face of the lawn is first 
tinted a pale rose color 
with water colors or Paris 
tints, afterwhich the edges 
of the outer petals are 
worked to the depth of an 
inch with buttonhole short 
and long stitch; the inner 
petals are worked in the 
same manner but with the 
simple short and long 
stitch. A pale rose-pink fig. 53. 

rope silk should be used for this part of the work. The center of the flower 
may be worked with pale green filo floss in satin stitch. To make up the 
cushion, after the flower-shaped center has been finished: Cut a circle out 
of cotton wool, using a breakfast plate as a guide to cut the circle by. 
The wool circle should be at least two inches thick. Place this circle in 
the center of a square of deep olive green surah silk, fold over the corners 
of the silk to the center of the circle, and fasten in tiny plaits to the wool, 
and close enough to the edge of the circle to form a generous pufifing 
around it; the cushion is now ready for the flower-shaped cover which 
must be fastened in the center of the circle and on the side where the silk 
is folded over. Suspend the cushion to a chair by means of a pink satin 
ribbon fastened on with invisible stitches, just under the edge of the cover. 
The shapes for the center cover of these pretty head-rests for chairs 




56 



DAINTY WORK FOR PLEASURE AND PROFIT. 



may be cut from a variety of designs — large single peonies, sunflowers and 
single roses, slightly conventionalized -can all be made effective. In adapt- 
ing a sunflower, the embroidery will look best done with some one of the 
shades of yellow. 

SHADING CONVENTIONAL DESIGNS. 
In strictly conventional designs there is, properly speaking, no such 
thing as shading — a combination of colors that are effectively contrasting 

or harmonious is 
the aim of the 
worker. The pop- 
ular fad in coloring 
for the past few 
years has been 
what is known to 
the trade as one 
line coloring that 
is, suppose the ma- 
terial being em- 
broidered to be a 
medium lightterra 
cotta, two or three 
shades of rope silk 
of the same color, 
1^ but a shade or two 
darker, would be 
used in the embroi- 
dery. 

The effect is 
certainly quiet and 
FIG. 54. artistic to a de- 

gree, and if portions of design are outlined with gold thread the effect is 
heightened. Again, certain colors or combinations are effective as green 
and white, blue and white, brown, red, ecru, etc., care being taken to use 
the high colors, as red, to heighten the effect of the whole, depending on 
the quieter colors for the body of the work. 




APPLICATION OF STITCHES. 57 

Figure 54 shows a conventional design in filled outline, and we suggest 
the following treatment, which if carried out neatly will produce a beau- 
tiful result: 

This design of fruit, with foliage, is suited for table linen, either scat- 
tered over a large surface, as a table cloth, or used in corners of mats or 
napkins. The outlines are all first treated in stem stitch with etching silk, 
and the spaces afterwards filled in with the fancy stitches, as shcwn^ 
in the same silk. These stitches have been previously described, so we 
will confine our remarks to the colors to be used. On table linen ladies 
incline to pure white or the lightest, daintiest tints of a color. We suggest 
several combinations, any one of which would be beautiful and correct. 

First combination, pure white for stems, leaves and outlines, and for 
filling stitches a pale silvery gray. 

Second combination, outline entire design with white and fill in with a 
pale blue. 

Third combination, outline in stem and short and long stitch with pale 
green, and fill in with cream white. 

Fourth combination, outline stems and leaves with pale gold; outline 
and fill in first cherry in the cluster with a shade of gold one degree deeper 
than that used for stems and leaves; outline and fill in the next cherry with 
a still deeper shade of gold, and for the third use a shade deeper yet. 

This will give a scheme of color in yellow gold, ranging from the 
faintest tint to a medium deep yellow. This method of coloring gives the 
effect of elaborate shading, and is beautiful. 

The foregoing illustrations and suggestions will give the reader a gen- 
eral idea of the proper use and combination of embroidery stitches, and 
will serve as a stimulus to the inventive worker, who wall not be satisfied to 
blindly follow our models, but will seek to mark out new lines of work for 
herself. 



58 



DAINTY WORK FOR PLEASURE AND PROFIT. 




CUSHIONS AND HEAD RESTS. 



(^.^ 



CHAPTER VII. 



SHADING. 



TT FTER stitches, shading is the subject that naturally claims atten- 

(t\ 7\/Y^ tion, and to the amateur embroideress it is usually a stumbling 

-X, A. block of pretty large dimensions; however, there is no reason 

'^^yi^^ why this part of the work should present more difficulties than 

'^^ the formation of the stitches. We have for several years taught 
a system of shading which we propose to present here, and as it is designed 
for the benefit of amateurs, the expert needleworker will pardon us if 
we are a little prolix on the subject. The woman who has an artist's eye 
for color needs no instruction in shading; but, unfortunately, she is sadly 
in the minority, and our efforts in this chapter must be devoted to her less 
fortunate sisters. 

Reduced to a system, shading is shorn of half its difficulties. In the 
first place, there is a proper way to purchase embroidery threads, which, 
when followed, gives satisfactory and certain results. 

Embroidery threads are dyed in several different shades of each color, 
and as each manufacturer has his own method of putting up and number- 
ing his silks, it will be necessary for us to select one brand of silk and refer 
to it exclusively throughout the different lessons given in these pages. For 
convenience we will select the shade card and numbers of Belding 
Brothers & Co. There are other manufacturers of embroidery threads 
whose outputs possess equal merit in regard to quality, fast dyes and 
artistic shades, and in selecting one brand of silk from which to illustrate 
our lessons, we do not wish to be understood as discriminating against 
others. Arrasenes, chenilles and linen threads are made and numbered in 
the same manner as the silks, so that the rule for selecting and using one 
will do for all. 



6o DAINTY WORK FOR PLEASURE AND PROFIT. 

SELECTING SHADES. 

To begin, we will explain a little about the colors and shades of silk to 
be purchased for embroidery purposes from our shade card. Each color is 
made in several different shades, but the number of shades any given color 
is made in varies. For convenience in reference, we will give here a small 
table of the colors, together with the number of shades in each color. 

TABLE OF COLORS. 

The numbers of the colors are given inclusive, thus 1201 to 1204 means 
that both numbers are to be included. 

White, three shades, 1200 to 1202; Cardinal Red, ten shades, 1204 to 
1213; Flame Red, seven shades, 1340 to 1346; Cherry Red, six shades, 1288 
to 1293; Old Pink, five shades, 1220 to 1224; Rose Pink, five shades, 1335 to 
1339; Bronze Green, six shades, 1214 to 1219; Olive Green, six shades, 1248 
to 1253; Apple Green, four shades, 1240 to 1243; Grass Green, five shades, 
i320to 1324; Sage Green, four shades, 1280 to 1283. Lily Green, five shades, 
1375 to 1379; Silver Green, five shades, 1330 to 1334; Peacock Green, five 
shades 1272 to 1276; Old Blue, five shades, 1225 to 1229; Gray Blue, five 
shades, 1235 to 1239; Blue, nine shades, 131 1 to 1319; Baby Blue, six shades, 
1354 to 1359; Peacock Blue, five shades, 1365 to 1369; Yellows, from pale 
canary to deep orange, twelve shades, 1260 to 1271; Wood Brown, six 
shades, 1294 to 1299; Red Brown, three shades, 1277 to 1279; Bronze Brown, 
six shades, 1305 to 1310; Golden Brown, seven shades, 1347 to 1353; Old 
Rose, five shades, 1335 to 1339; Dark Terra Cotta, five shades, 1230 to 1234, 
Light Terra Cotta, six shades, 1254 to 1259; Silver Gray, four shades, 1244 
to 1247; Lavender, four shades, 1284 to 1287; Heliotrope, five shades, 1300 
to 1304; Fawn Brown, five shades, 1360 to 1364. 

The above group of colors includes all the shades manufactured by any 
silk house, and from them vuist be selected the colors needed for any given 
piece of ^\ ork. Thus, blue flowers must be selected from the different lines 
blue; all red flowers from the lines of red; all pink flowers from the lines 
of pink; and all purple flowers from the lines of purple 

From the list o*^ colors given, it will be seen that there are different 
varieties of the same color; thus, there are blues and blues, green rt';/^^ greens; 
now, the different hnes of the same color are rarely combined in the same 



SHADING. 6i 

leaf or petal, and such combination should never be attempted by any 
woman less than an artist. It is safest to confine yourself to one line of a 
given color; in that line you have a number of shades from light to dark, 
any one of which will combine with any other shade of the line. 

As we have before hinted, any rule for shading is half mastered when 
the worker knows how to purchase or select materials. It may seem a 
simple thing to go into a shop and select silks for a rose spray, a poppy, or 
so simple a flower as a buttercup, but not one lady in twenty can accom- 
plish the feat with any comfort to the clerk or satisfaction to herself. 

In shading there are three points to be considered. First, the color of 
the flower to be worked. Second, is it light, medium or dark in tone. 
Third, what kind of silk to work it in. These points are best decided in the 
quiet seclusion of home. A heterogeneous mass of silk in hopeless confu- 
sion, an anxious clerk, and a crowd of ladies clamorous for an opportunity 
to pull and haul the same box of silk into still worse disorder — in the vain 
endeavor to match silk purchased, perhaps, months before — is not condu 
cive to the mental equipoise necessary for the work in hand; therefore, we 
repeat, do as much of the selecting at home as possible. 

After you have fully decided upon the materials needed, the next 
difficulty to be encountered is the procuring proper shading in small stores 
in country towns. You are almost certain to be obliged to select from a 
ragged, broken and incomplete assortment, difficult for even an experienced 
worker to select from, and quite impossible for the amateur. When at all 
possible, go to a store where a large and complete line of silk is carried. 
If you have several colors to select, make up your mind what particular 
line of each color you wish to use; if green, decide whether it shall be olive 
green or grass green; if pink, whether it shall be old pink or rose pink, and 
having decided this point, ask the clerk to show you one line of color at a 
time. Insist on having the entire line of shades in that color placed before 
you. By referring to the list of colors and shades given at the beginning 
of this chapter, you will at once know if all the shades are before you, and 
if any are missing, which ones. Place them in order on the counter before 
you, beginning with the lightest shade first, then the next deeper, and so 
on, until the last shade is reached. Now, from the colors before you select 
as many shades as your pattern will require; thus, if you are shading wild 



62 DAINTY WORK FOR PLEASURE AND PROFIT. 

roses, you will call for the line of rose pinks, in which there are five shades; 
you will at once see that you do not require the entire line, but only the 
first three shades. If }'ou are shading morning glories of a reddish pink, 
you will call for the line of cherry red, which has six shades to select from, 
and you will require all or part, according to the size of the design. In a 
pattern having five or six flowers the entire line of this shade can be used 
effectively, while if there are but two or three flowers the first three shades 
of the line would be sufficient. 

In working red poppies the line of flame reds should be used. This 
line has seven shades, and if the pattern shows several poppies the entire line 
can be brought into requisition, but not necessarily all in one flower. The 
lighter shades of the line w411 be used for the high lights and the outer edge 
of petals, then two shades next deeper will be blended in to work the body of 
flower, and for the markings at base of petals the deepest shade of the line 
should be used. Some varieties of red poppies show purplish markings at 
the base of petals, but these should not be attempted in embroidery. There 
are limitations in art needlework, and this is one of them. What would 
present a beautiful effect of light and shade done with either oil or water 
colors, would be but a patchy affair if attempted with the needle and the 
colors at our comm.and in embroidery threads. 

But to return to our purchasing. Having selected your first line of 
colors, require the clerk to put away all the silks you have been selecting 
from, and proceed to the next color; repeat this until you have completed 
your purchases. This will save the clerk a great deal of time and trouble, 
and spare yourself annoyance and uncertainty, and when you are through 
with your shopping you can return home with the consciousness that you 
have purchased just the right thing. This method of selecting embroidery 
threads leaves nothing to accident or whim, and thus will be avoided inhar- 
monious and ignorant shading. 

PROPER METHOD OF SHADING. 

Having selected our embroidery silks, the next thing in order will be to 
use them correctly. In shading flowers and foliage Nature is not to be fol- 
lowed in her entirety, for we cannot successfully copy lights and shades 
and eccentric markings: we must depend rather upon a continuity of sur- 



SHADING. 



63 




face that is shaded from light to dark in the same color and with gradual 
blending. We must, of course, consider the position of the flower or foli- 
age; thus, in shading most flowers presenting afull front view — see figure 55 — 
the rule is to begin at the tip of the 
highest petal, and with the lightest 
shade of silk used work toward the 
center, blending with it, gradually, two 
or three deeper shades of the same 
color, using the deepest in the very 
center of petal. Morning glories, nas- 
turtiums, trumpetflower, orchids, in' 
fact, most bell-shaped flowers, offer an 
exception to this rule, as the heart or 
cup of the flower is often of the 
lightest tint; in some varieties of 
morning glories the throat or cup will be pure white, while the outer edges 
of petals will be the most vivid pink or purple. In figure 55 the numbers 

I, 2, and 3 indicate the position of the 
different shades of silk used, i indicates 
the lightest shade, 2 the next deeper and 
3 the third deepest shade used, v/hile the 
portion of flower heavily shaded, but with- 
out numbers, indicate silk one and two 
shades deeper yet than is indicated by the 
numbers 1, 2 and 3. 

In a flower presenting a drooping side 
view — see figure 56 — the lightest shade of 
the color used will be disposed on that por- 
tion of the flower where the light would 
naturally strike first, which, in case of the 
flower in question, w^ould be on the upper 
petals, shading gradually darker toward the 
base of flower from right to left. The figures i, 2, 3 indicate the relative 
positions of shades as given in figure 55, and the heavily shaded lower petals 
indicate the deepest shade of the color used in the entire flower. In work- 




FIG. 56. 



64 



DAINTY WORK FOR PLEASURE AND PROFIT. 



ing, begin at the point where the lightest shade is to be used and gradually 
blend in the deeper shades, working always toward that point of the 
petals where the shadows lie, which in this case will be on the edges of 
those petals drooping lowest and nearest the worker. 

In a flower presenting a full side view, the lightest shade will, ot 
course, be used on the outer edges of the petals, which will be shaded 
deeper, gradually, toward that point where the flower joins the stalk, and 
the shading will be deeper on that side where the shadow falls; this tends 
to give the flower that rounded effect, that appearance of standing out and 

away from the material. See figure 57. 
In this flower the figures i, 2, 3 indi- 
cating the lightest shades are placed at 
the top edge of petals and also the deep- 
est of these three shades is indicated 
at the base of flower. 

In shading foliage no cut and 
dried rule can be applied. The general 
rule of working with the lightest shade 
that portion of leaf or stalk which the 
light strikes first, must, of course, be 
^^^' 57- followed, but the combination of 

shades to produce a mass of foliage must depend upon the arrangement of 
design, the nature of the foliage and the color of the background. The upper 
portion of foliage, the tips of leaves, the young leaves, and the wrong side of 
turned leaves should be wrought out with the lighter shades of the colors 
used, while that portion of the leaf joining the stalk, and leaves that are 
overshadowed by other parts of the foliage should be shaded gradually 
deeper until the deepest tone used in the design has been reached. We 
have a great variety of greens to draw upon for shading foliage, and thus 
natural shading can usually be obtained. In shading the foliage of poppies, 
carnations, geraniums, thistles, and some varieties of the lily family, the 
silver greens should be employed, while for the foliage of water, tiger and 
Easter lilies, nasturtiums, morning glories, and plants of the same coloring, 
the lily greens will produce natural shading; fo" chrysanthemums, some 




SHADING. 65 

varieties of geraniums, fuschias and a few varieties of rose leaves the sage 
greens should be used. 

In shading autumn leaves and foliage — such as oak, maple, mountain 
ash, Virginia creeper, begonia, sumac, etc., we have at our command all the 
greens, browns, olives, bronzes, flame reds and orange yellows, and with 
these can be wrought out a very dream of autumnal glory. 

For shading grasses and ferns, apple and grass greens are usually 
employed, and where the background will permit, a little bronze green and 
olive brown may be added to represent ripened grass and ferns. For rose 
foliage all or any of the greens may be used; and for any foliage mentioned 
above, where the background will not permit the use of natural shading, the 
olive and bronze greens may be substituted. 

The stalks of plants are better represented with either wood or red 
brown, though in case of young and tender stalks the lightest shade of 
green used in the foliage may be employed. 

Having discussed natural shading, which may also be called popular 
shading as well, we come to art or conventional shading, which is quite 
another thing. Here we may work a rose in blue, or any other color our 
fancy may dictate, provided the design has been slightly conventionalized. 
This style of shading is used in the societies of decorative art, and among 
people whose taste has been cultivated in this direction. The amateur 
embroideress will find it hard to reconcile her ideas of the eternal fitness of 
things with a flower wrought out in colors never dreamed of by Nature, in 
connection with that particular plant, at least. However, time and contact 
with artistic work will modify this taste for flowers a2^ nahiral, both as to 
form and color, and gradually will she incline to subdued tints and shades 
for her art needlework. There is a distinct tendency to so conventionalize 
our old familiar friends of the flower garden that we find it hard to recog- 
nize them in their new dress and colorings; but one must admit that a frieze 
of slightly conventionalized oak leaves and acorns across the bottom of an 
ivory colored portiere, wrought in an applique of golden browns, through 
several shades and tones of that color, would present a far richer effect 
than a frieze of flowers embroidered in natural form and coloring. 

Again, with this conventional -shading we can have our decorative work 
in distinct harmony with the furnishings of the room in which it is to be 



66 DAINTY WORK FOR PLEASURE AND PROFIT. 

displayed; and the most important point in its favor is the fact tha embroi- 
deries wrought in dull art tones are less tiring to the eye, richer in effect 
and more refining in influence than those done with the natural shading, 
which in garden and field may be a delight, but which when transferred to 
the sitting-room, and given a setting never dreamed of in the economy of 
nature, becomes garrish, loud and incongruous. For those who love color, 
and cling to a rose that is red, or a tulip that is yellow, in all places and 
under all conditions, there is a modified conventional shading, which, while 
lying close to the natural is yet brought into subjection to surrounding 
objects; for instance, if a curtain is to be decorated with yellow tulips, 
instead of selecting for a model a tulip of bright yellow, work out the 
design in dull yellows, with a hint of brown in them — the golden brown of 
our shade card used throughout the entire flower will give the desired 
effect. If a red, red rose is desired, instead of using the bright and glaring 
reds, go down to the bottom of the line of reds and select the three darkest 
shades. The effect of this shading is rich in the extreme, and does not 
offend the taste of those people who cannot become reconciled to a blue 
rose. 

In conventional shading there may be no attempt at shading from dark 
to light, or the reverse; the entire design may appropriately be wrought with 
one color; or with equal propriety all the different shades in one color may 
be employed — and foliage, stalks, flowers, may all be worked with the same 
shade. 

In the pages of this book, when indicating the coloring and shading 
for specific articles we shall refer to the silks by their numbers and names 
as given in the table of colors at the beginning of this subject. 

While it is absolutely impossible to teach all the subtle gradations of 
artistic shading in any written article, yet the rules and suggestions here 
given are so clearly marked, the limitations of our colors so well defined, 
that the merest novice ought not to go astray; and, given an eye for the 
harmony of colors, she should be able to obtain all the artistic results of 
which the materials are capable. Without this eye for harmony she may 
yet obtain beautiful and correct results, but in less variety, by simply fol- 
lowing out our suggestions in either natural or conventional coloring. 



CHAPTER VIII. 



ART OR FLAT EMBROIDERY. 




LL EMBROIDERIES are divided into two classes, namely, 
art or flat embroidery and raised novelty embroidery. The 
former includes all decorative needlework that is applied 
d'rectly to the fabric that is to serve as a background, with 
either crewel, tapestry wool, silk, linen, cotton, or gold 
threads. Those embroideries wrought out with arrasene, 
chenille, smyrnasene, ribboseneand featherasene have been 
relegated to the ranks of raised novelty embroidery. 

Art and raised embroidery have each a place in our decorative economy, 
and will be considered separately; yet, at the start, it is well to bear in mind 
that art or flat embroidery is to decorative art work what bread and butter 
is to our diet, and bears the same relation to raised embroidery that our 
dinner does to the dessert; so in decorative efforts let us have a good 
supply of the bread and butter of embroidery and a moderate amount of 
dessert in the shape of raised work, otherwise the effect will be bizarre and 
monotonous. That there can be too much of a good thing is an old saying, 
and nowhere is it truer than here. So do not let us go to the extreme of 
raised double and single roses, snowballs and thistles to the exclusion of 
higher forms of art work. 

We confess that raised embroidery has a fascination hard to resist; it 
grows under our hands so rapidly; the effect is so striking; it fills up so 
quickly, with such a small comparative outlay of labor; it is so pretty! 
Granted, but still we must not have too much of it; like every other good 
thing it has its drawbacks— fashidn is fickle, dust clings lovingly to its lux- 
urious folds and obstinately refuses to "move on," and last, but by no 
means least, it is more expensive than its legitimate sister, flat or art em- 



68 DAINTY WORK FOR PLEASURE AND PROFIT. 

broidery, and will not wear so well — in short, will not be "a thing of beauty 
and a joy forever." 

Under the head of art embroidery will be considered Roman embroi- 
dery, applique, outline, solid Kensington, and those embroideries wrought 
out with combination of filling stitches applied to articles of use or ornament. 

The groundwork of all embroidery has been thoroughly laid in 
chapters V, VI and VII, which teach the method of making and applying the 
stitches and the proper shading of designs. The province of this chapter 
will be to make practical application of those lessons given in previous 
chapters, and also to give more complete detail of subjects treated therein 
whenever necessary. 

Art embroidery is suitable for decorating all and every article that one 
may wish to embellish with needlework; the same, however, cannot be said 
of raised embroidery, whose field of usefulness is indeed limited; but more 
of this in its proper order. 

ROMAN EMBROIDERY. 

Roman embroidery is used upon articles of ornament or use, either 
alone or in combination with other styles of decorative needlework. As 
we wish to refer to it in future pages, we will here describe the method of 
working. 

This form of embroidery is very ancient and never goes out of style; 
when nicely done, a piece of Roman embroidery is worthy to be handed 
down as an heirloom from one generation to another. It is most generally 
applied to table linen, articles of bedroom linen, curtains and cushion 
covers on white wash fabrics; but it is also applied to colored materials, 
either silks, velvets or cloths, and is known to some people as cut work; 
however, as Roman Embroidery is the name by which it is most popularly 
known, we will refer to it by that name. 

To illustrate our lesson on Roman embroidery we will make use of a 
design suitable for tablespread border, the full working size being 28x29 
inches. See figure 58, on next page. 

After stamping the design on the material, according to instructions 
previously given, begin the work by putting in the lines that connect the 
different portions of design; they are called lace lines. For this part of the 



ART OR FLAT EMBROIDERY. 



69 



work etching silk or wash twist should be used, unless linen threads are pre- 
ferred, in which 



case Scotch linen 

floss, No. 8, will 

be required. In 

putting in the lace 

lines, begin at one 

edge and carry 

the thread across 

to the opposite 

edge of design, 

and then twist the thread back upon the line 

just carried across; this will give firmness to 

the threads and prevent the work from pull- 
ing out of shape when the material back of 

the lace lines is cut away. Having brought 

the needle back to its starting point, take a 

few running stitches along the edge of design 

until the starting point of the next lace line 

is reached, when the same operation of car- 
rying across and twisting back must be fig. 58. 

repeated. Figure 59 shows section of design with the lace lines in. Now, 

around all the outlines of design, where 
the lines begin and end, work a button- 
hole stitch over German cord, No. 1. 
This not only adds to the beauty of the 
design, but is necessary, as otherwise 
the cutting away of the material back 
of the connecting or lace lines would 

/'nnnn «n 0nnrai^)K VV allow the work to pull apart. Figure 
^r ^1^ ^r llF ^r ^Ir \w ^° shows section of the design enlarged 
^ "-^ " '^" -^ "^^ " -^ " >^ "-J |-Q vvorking size and having outlines 

finished with buttonhole stitch. 
After the lace lines are in and the edge buttonholed, the next step is 
to cut away the material back of the lines. This must be done with great 





FIG. 59. 



70 DAINTY WORK FOR PLEASURE AND PROFIT. 




DETAIL FOR ROMAN EMBROIDERY-SEE PAGE 60 



ART OR FLAT EMBROIDERY. 71 

care, so as not to cut either the buttonhole edge or one of the connecting 
lines. 

This completes the Roman embroidery proper, but, in later days, some 
embellishments have been added to the design. They consist of fancy fill- 
ing stitches on certain parts of the material that is not cut away. Figure 60 
shows a honey-comb stitch applied to a portion of the design, and the 
spaces marked i and 2 on figure 58 can be similarly treated; also the scroll 
portion of design, marked 3 on figure 60, can be filled with some other 
stitch, thus giving variety to the design. 

There is a style of Roman embroidery much used where the edges are 
finished with a buttonhole short and long stitch worked on the material 
without the strengthening aid of the German cord. For some purposes 
this form of the work is very pretty, but it is not in the least durable and 
should not be used on articles that are to receive much wear or that are to 
be frequently laundered. 

To summarize: In making Roman embroidery — 

First. Stamp design and put in the lace lines, being careful to twist 
back on each thread carried across. This twisting is done by simply wind- 
ing the needle around the lace lines until the opposite margin is reached. 

Second. Work all outlines of design with buttonhole stitch over Ger- 
man cord. 

Third. Fill spaces of design with such filling stitches as are preferred. 

Fourth. Cut away material back of the lace lines, cutting close to the 
edge of the buttonhole stitch, taking care not to cut the buttonhole edge or 
one of the lace lines. The above instructions contain all there is of mys- 
tery in the modus operandi of working Roman embroidery. 

The expense of making Roman embroidery is, comparatively speaking, 
light. It can be done in white or colored threads, but in any case very 
little material sufifices to work out quite an elaborate design. 

Many ladies combine floral embroidery with the Roman. Thus the 
ends of towels, scarfs, center cloths, etc., will be finished with a Roman 
embroidered border, and the surface of material above the border will be 
embroidered solidly or with filling stitches, the combination of the two 
styles of work being beautiful. 



72 DAINTY WORK FOR PLEASURE AND PROFIT. 

PRACTICAL EMBROIDERIES. 

Embroideries done on wash fabrics with washable embroidery threads 
will at once commend themselves to the wise and economical housekeeper, 
and dining and bedroom linens offer a field for decorative effort in which 
the home-loving woman never tires of working. 

Table cloths, lunch sets, sideboard scarfs, doyleys, carving cloths, veg- 
etable mats, tray cloths, pillow shams, scarfs, bedspreads, bureau and com- 
mode scarfs, splashers, tidies, toilet sets for dressing table, all should be 
made with a view to cleanliness, and this cannot be accomplished unless 
the articles are made from and embroidered with materials that will bear 
repeated laundering. 

The articles mentioned above should all be decorated with art embroi- 
dery, and whether the design selected be conventional or natural, any of 
the stitches, except plush stitch, shown in Chapter V, can be employed in 
working. The embroidery threads to be used are a matter of taste, to a 
certain extent; for very fine linen or sheer fabrics, filo floss or Royal floss 
will be found to give good results, while for buttonhole stitch, outline 
stitch and some of the filling stitches, etching silk will be found better 
adapted. In case one wishes to use Scotch linen embroidery threads instead 
of silks, Scotch linen floss, No, 8 or No. 4, will be required. Gold thread is 
sometimes effectively employed on white wash goods, couched down as an 
outline, but it should never be employed on articles that are to be com- 
monly used, and therefore frequently laundered. 

Wash twist, rope silk, rope linen and Bargarren linen are all used 
appropriately on articles of heavy cotton and linen fabrics, whether for 
dining or bedrooms, though the threads first mentioned are more com- 
monly employed upon table linen and toilet sets. 

USE SIMPLE DESIGNS AND STITCHES. 

Where time and expense are to be considered in decorating articles of 
use, the different varieties of outline stitch will be found effective and beau- 
tiful, and we say, at the risk of repeating, it is better to have several articles 
simply decorated with needlework than to possess one piece of marvelous 
and intricate workmanship, which from its very elegance is "too nice for 
use," and which is kept from the light of day, securely wrapped in a sheet 



ART OR FLAT EMBROIDERY. 73 

or towel, and brought out only on rare occasions to be displayed with pride, 
and then rewrapped and retired to seclusion until, on some other occasion, 
it is again brought forth to delight the gaze of a favored friend — but used ! 
perish the thought ! 

A bedspread, a pair of pillow shams, a toilet set, a splasher, a bureau 
and commode scarf, a stand cover made of good domestic linen, and em- 
broidered with wash silk or linen threads in simple outline stitch, and all 
immaculately clean, are certainly within the reach of the poor and busy; 
and what an air of dainty home comfort they will lend to the poorest bed- 
chamber. Who would stop to notice that the bedstead and bureau were of 
commonest pine — in a word, that the room was poorly and plainly fur- 
nished. All that would appeal to the senses would be the air of sweet 
cleanliness, the dainty womanly touches that can make the poorest spot on 
earth breathe of home, rest and comfort. 

If a little womanly care will do so much for the sleeping apartment, 
what may not be expected from an equal amount of care expended upon 
the dining-room, ever the true keynote of the whole home life. 

Quiet elegance can be imparted to the plainest appointed table by 
clean and shining glass and china, which may be but common delf, and 
proper, though cheap, table linen in cleanly order. 

Every dining-room should possess a sufficient amount of table napery 
to last from one wash day to the next, and an extra set for emergencies. 
In the days of cur great-grandmothers plain dinner napkins and damask 
linen table cloths alone were understood when dining-room linen was men- 
tioned. Now the number of pieces of linen are seemingly limited only by 
the number of dishes on the table. 

In purchasing table linen, where essentials must f^.rst be considered, one 
will naturally select first the everyday table cloths, which, for economy's 
sake, should be of good firm texture. Next, one fine damask cloth for 
"best." After these, napkins, and of these there should be a plentiful sup- 
ply. Having secured the necessary linen, one can let her fancy have free 
range through the list of modern table linen, including lunch cloths, center 
pieces and table runners, tray and carving cloths, vegetable mats, fruit and 
finger bowl doyleys, mats for oil and vinegar cruets, mats for water service, 
doyleys for fish, corn, baked potatoes and hot rolls; butter and cheese- 



74 



DAINTY WORK FOR PLEASURE AND PROFIT. 



plate mats; lunch sets, consisting of center piece, cup doyleys and plate 
doyleys, with individual doyleys for the different dishes, such as sal- 
ads, cold meats, etc. These lunch s^ts are generally used without a table 
cloth, in which case the dining table should have a handsome polish. 



LIST OF TABLE LINEN. 

For the benefit of such of our readers as are unfamiliar with the names 

and uses of the different 
pieces of table linen, we 
will here append a small 
descriptive list, which we 
trust will be of practical 
help. 

Table Cloth.— A 
cloth for covering the ta- 
ble before the dishes are 
placed for the meal. 

Lunch Cloth.— A 
cloth especially designed 
for luncheons, either fam- 
ily luncheons or those 
given to a number of 
friends. The lunch cloths 
are usually not as large as 




LUNCH CLOTH. 



FIG. 6l. 



the ordinary table cloth, and are decorated with needlework in the corners 
or around the borders. Where an evening entertainment, such as a card 
party, is given, refreshments are generally served on small tables, at which 
not more than four people are seated; in such cases the lunch cloths are 
smaller, being not over a yard square, and the needlework is so placed as 
to appear upon the top of the table. Our illustration shows section of a 
lunch cloth made of plain satin damask and embroidered with conventional 
design. The ribbon portion of the pattern is one and a half inches wide, 
worked with simple darning stitch. See figure 6i. The edges of ribbon 
are then outlined. The flowers are worked in solid Kensington stitch, in 



ART OR FLAT EMBROIDERY. 



75 



pure white, with a tiny French knot of pale yellow in the center of each. 
The ribbon is worked with pale lily green. Royal floss is used to work this 
design, which is repeated on each of the four corners. 

Napkin. — A square of linen cloth used at 
table for wiping the mouth and fingers. The sizes 
of napkins vary, dinner napkins generally being 
larger than those used for breakfast or tea. The 
decoration on napkins usually consists of the 
initial or monogram of the owner, worked with 
white embroidery cotton or linen in the corner or 
center. These initials are generally worked with 
satin stitch, though open spaces can be most 
effectively filled with dot stitch or open eylet-holes. 




NAPKIN. FIG. 63. 




Doy ley. — A small napkin used wiih fruit 
and wine and also for placing under cups, and 
g wherever a small napkin would be required. 
Doyleys of a larger size are also made for 
b'! placing under cheese, hot potatoes, hot rolls, 
g corn on the ear, fish and butter. These doyleys 
, should be made of good damask linen, with 
i|i WVl f W ' W)',l", 'i[^'"i'f)'ff(|^l^l'BKf^ the edge fringed or hemstitched. A suitable 
DOYLEY. FIG. 63. dcsigu is usually embroidered in the corner, 

around the border or scattered over the entire surface. 

Carving" Cloth. — A piece of linen to be placed under meat, fish and 
game platters in or- 



der to protect the 
table cloth when 
carving. The size 
depends upon the 
size of platters, and 
as many carving 
cloths will be needed 
as different sizes of fig. 64. 

platters are used. The cloth should come out beyond the edge of the plat- 
ter at least three or four inches. The edge can be hemstitched or fringed, 




-je 



DAINTY WORK FOR PLEASURE AND PROFIT. 



as described for tray cloth. The design may be floral or conventional. We 
here show, in figure 64, a very pretty pattern for the end of a fish cloth. It 
can be enlarged to correct working size by means of the pantagraph. The 
design should be five times its present size. The water lines should be 
worked with old blue etching silk, using two shades, a light and a dark; the 
fish net should be worked with a light tan; the star and jelly fish with 
pale old rose, and the fish and dragon in the net with a combination of all 
the shades here given. Simple outline stitch will be all that is necessary for 
working the entire design. 

Table Runner. — A long scarf of linen, satin damask, silk or 
bolting silk, having ends or sides decorated with needlework. This runner 
is to be placed down the exact center of the table, and should reach within 
ten inches of either end. the width of the runner depends upon the width 
of table, but from twenty to twenty-seven inches is the usual size. A table 
runner is used for the same purpose as is a center cloth. The relishes, 
flowers, fruit and such ornamental dishes as are to remain upon the table 
throughout the meal are to be placed upon it. 

Tray Cloth. — A piece of linen usually 18x27 inches, according to 

the size of table, to be 
placed beneath the tea 
service. The edges 
are either finished with 
hemstitching or fringe, 
made by raveling out 
the material to the re- 
quired depth. The dec- 
oration should consist 
of a simple design 
placed across the ends 
— see figure 65 — or in 








^t:^. 




FIG. 65. 



the four corners and outli.ied or worked with short and long stitch. 
Years ago it was considered the proper thing to spread a common hand 
towel on the tea tray or beneath the tea service placed upon the table, but 
now the dainty tray cloths, decorated appropriately for the purpose fuper= 
cedes the old style. 



ART OR FLAT EMBROIDERY. 



17 



Center Cloth. — A square or oblong piece of linen, silk or bolt- 
ing silk, used in center of dinner table, on which is generally placed the 
fruit and flower piece and those dishes that are merely ornamental. These 
center cloths can be very elaborately ornamented, as they are in most fam- 
ilies used on occasions of ceremony only. The needlework may be solid, 
or outlined with silk or linen embroidery thread. The designs most used 
are floral, with natural shading; sometimes the entire cloth is covered with 
an all-over design of flowers, worked solidly; sometimes with a floral scroll 
around the borders in short and long stitches. Our illustration, figure 66, 
shows a center cloth of satin dam- 
ask, 27 inches square, with a con- 
ventional floral design, suitable for 
either solid Kensington or short 
and long stitches. The colors 
used for working our model were, 
cream white for the outer edges 
of leaves and petals; into this was 
blended, with short and long 
stitches, the two lightest shades of 
golden brown. The effect of 
blending one row of stitches into 
another is almost equal to solid 
Kensington stitch and not nearly 
as much work. The outside row ^^^" 

of stitches may be finished with the buttonhole edge when it is desired to 
cut away the material from the edges. 

Lunch Sets. — A certain number of cup and plate doyleys, napkins 
and center cloth, designed and worked en suite. These sets are to be used 
on a polished table and without a table cloth. The center cloth is 
made after the directions given for that article above. The cup doyleys are 
made from a portion of the design used in the center cloth, v/hile the plate 
doyleys have a design similar to but smaller than that used on the center 
cloth. These lunch sets, as their name indicates, are used for formal 
luncheons, and consist of as many cup and plate doyleys as there are per- 




78 



DAINTY WORK FOR PLEASURE AND PROFIT. 



sons to be served, a center cloth and mats or doyleys for salad dishes, etc. 

The favorite fabric for making these sets is satin damask, and they may be em- 
broidered with either silk or linen 
threads. Figures 67 and 68 show 
center piece and cup doyley of a 
geranium lunch set. The plate 
doyley is a circle having a row of 
small geranium leaves arranged 
around it in the form of a wreath. 
The center piece of this partic- 
ular set is but 18 inches across, 
and the cup doyley but nine 
inches. It will be seen from the 
illustrations that the set is worked 
with short and long stitches with 
buttonhole edge, the veins being 
worked with outline stitch. The 
three lightest shades of lily green 
will be required for this purpose; 




FIG. 67. 



use the lightest shade on outside edge of leaves, and blend into it 
the next deeper shade, using the deepest of 
the three shades selected for the veins. The 
material is cut away from the edge of all the 
pieces. These lunch sets are made in differ- 
ent styles. A very appropriate design for 
lunch set where oysters are served is a row 
of oyster shells arranged around a circle, like 
a wreath. We shall give in another chapter 
other designs for lunch sets. 

Cruet Mats. — Pieces of linen or 
other material for placing under oil and vine- 
gar cruets, generally made in the form of a 
leaf or flower; good domestic linen will do nicely for this purpose. The 
edges should be buttonholed over a German cord with silk or linen threads, 
and inside this a row of short and long stitches will give a rich effect. The 




FIG. 68. 



ART OR FLAT EMBROIDERY. 



79 




FIG. 6q. 



veins in the centers can be worked in feather or outline stitch. Figure 
69 shows a very good illustration of our meaning. A set of mats of the 
same design, only in varying sizes, is convenient, as 
the larger ones can be used for water pitcher, pickle 
and salad dishes, and the smaller ones for oil and 
vinegar cruets. 

Vegetable Mats are used to place under 
vegetable dishes. They should be large enough to 
extend a little beyond the edge of the dishes used, 
and may be square, oblong or round in shape. 
Bargarren art cloth or linen canvas may be used in 
their construction. Vegetable mats should not be very elaborately decorated, 
a little ornamental work on the edges being all that is necessary. If Bar- 
garren art cloth is 
used a pretty border 
can be darned in the 
meshes of the fab- 
ric with Bargarren 
linen thread and the 
edge furtherfinished 
by fringing the ma- 
terial to a suitable 
FIG. 70. depth; two inches 

will be deep enough. Figure 70 shows a set of these mats. 

Tea or Coffee Cozy.— A covering to put over the tea or coffee 
pot to keep its contents warm and prevent the aroma from escaping. Fig- 
ure 71 shows a very handsome cozy designed for the Chicago Society of 
Decorative Art. The model was made of fine v/hite linen, embroidered 
solidly with white Scotch linen floss No. 4, and laced with white silk art 
cord over a puffing of deep golden yellow China silk. By this arrangement 
the covering of the cozy can be unlaced and removed for cleaning when 
soiled. The cozy should be made to fit the tea or coffee pot, and a good 
way to get the dimensions is to measure the height and width of the tea or 
coffee pot and allow an extra two inches each way. Then out of stiff paper 
cut a piece the right size and round off the upper corners, making a half- 




80 



DAINTY WORK FOR PLEASURE AND PROFIT. 




COFFEE COZY. 



circle, or nearly so. Now cut an inner lining of sateen and an outer lining 
of China silk and an interlining of wadding. Place the wadding between 

the two linings and baste into 
place. Duplicate this and 
join the two half circles to- 
gether on the sides and upper 
edges, leaving a space open 
at the bottom, like a pocket; 
this is to allow the covering 
to be slipped over the coffee 
pot. The outside covering 
should be cut out of white 
linen, two sizes smaller than 
the foundation. The edges 
should be scalloped and 
worked with buttonhole 
FIG. 71. stitch, and any design pre- 

ferred worked over the two pieces. Lace these embroidered pieces over 
the foundation by means of eyelet holes worked into each scallop, through 
which art cord is laced back and forth. We think that with the help 
afforded by the illustration no difficulty will be 
encountered in duplicating. The material 
and colors are matters to be decided by per- 
sonal preference. 

Mat for Water Service.— A mat to 

place on tray or table, for the water pitcher 
and glasses to rest on. It should be made of 
thick material or a heavy lining should be 
added. Bargarren art cloth or huckabuck an- 
swers excellently for this purpose. The mats 
are usually cut in the form of a large leaf, hav- 
mg the edges finished with buttonhole stitch fig. 72. 

taken over German cord. The surface of the mat is then darned with Bar- 
garren art thread through each mesh of the fabric. Any color that will 
harmc nize with the other decorations can be used. Figure 72 shows a mat 




ART OR FLAT EMBROIDERY 



81 



made after this idea. Other styles of decoration can be used, as it is a 
matter of individual fancy. 

Sideboard Scarf .—A scarf of linen just long enough to reach 
across the sideboard, from one end to 
the other; or, if preferred, it can be cut 
long enough to allow the ends to hang 
over nine or ten inches, and wide 
enough to just cover the shelf. This 
scarf may be embroidered on the ends 
and over the front edge. Outline, short 
and long or solid Kensington stitch 
can be used with equal effect, employ- 
ing any of the wash silks or linen 
threads preferred. Figure 73 shows 
a scarf having the ends ornamented 
with Roman embroidery. The sides and 
ends should be finished with hemstitch. 

The illustrations given in this list of 
table linen are intended to illustrate the fig. 73. 

definitions only, and must not be considered as covering the field. The 
subject will be treated rrore fully in other pages of this work. 

EMBROIDERED BED-ROOM FURNISHINGS. 

In furnishing the sleeping apartments for members of the family a 
supply of articles, made ornamental by more or less needlework, should be 
included in the list of necessary articles. 

At least two sets of bureau and commode scarfs, toilet mats, cushion 
covers, pillow shams, bedspreads and stand covers should be prepared for 
each room. The guest room should also have two sets, a little more orna- 
mental than those used everyday. There are some people who advocate 
abolishing the "best" in every department of the household, but humilia- 
tion of spirit is sure to be the fate of the luckless wight who listens to such 
ill-judged advice. The unexpected always happens to the unprepared, and 
the woman who has no company china, glass, table linen, bed linen and 
toilet articles laid away for emergencies, is seldom prepared for the advent 
of the unexpected or hastily announced guest 




82 DAINTY WORK FOR PLEASURE AND PROFIT. 

The everyday articles should be of as good quality as can be afforded 
for common usage, but we may well spare a few extra dollars for a "best" 
with which to do honor to those to whom we extend our hospitality. 

The woman who declares that what is good enough for her is good 
enough for anybody, is rarely an ideal hostess. She is quite likely to be 
wanting in that spirit of self-sacrifice that delights to confer honor and 
comfort upon the guest beneath her roof; that spirit of pleasure in giving 
up the "best" to dear ones which is the loveliest attribute of the true 
" home mother." 

In selecting reserve supplies it is not necessary to go to extreme 
expense, for there should not be a too marked disparity between the "best" 
and the everyday supplies, but those reserved for occasional use may well 
be of as fine quality as the income will warrant. They should be kept in 
perfect order, and those articles that are to be ornamented with needlework 
should be more elaborately embroidered than those used commonly. 

There are many little articles of bed-room furnishing that depend, for 
their beauty, upon the good taste that presides over their ornamentation, 
rather than upon expensive materials. Following, will be found an illus- 
trated list of articles that can be made at home for sleeping rooms 
that will suggest to the ingenious woman work for many an otherwise idle 
hour. 

ARTICLES FOR USE IN SLEEPING ROOMS. 

Bed Spread. — A cover to spread over the bed during the day. 
Bed spreads are made of many different fabrics, but those made of white 
wash materials are always in the best taste. Bargarren art cloth, holly- 
wood drapery, linen bolton sheeting and bolting silk are much used for the 
purpose, and any one of these fabrics forms an excellent background for 
embroidery done with either silk or linen threads. The size and shape of 
bed spreads vary. Some are made long enough to come up over the pil- 
lows, in place of pillow shams; some are made just the size of the top of 
the bed; others come from the bottom of the bed to the lower edge of the 
pillows, and fall over the side board of the bedstead. The shams used 
with this latter style of spread are made in one piece, and reach across the 
top of bed, over the pillows. The full page illustration of draped beds shows 
a sham of this kind. The decoration may be an all-over design, or a cor- 



ART OR FLAT EMBROIDERY. 



83 



ner piece with a handsome center, or a border around the sides and across 
the ends. 

Pillow Shams. — Pieces of cotton, linen or other wash fabrics, 
usually from 27 X 27 to 36x36 inches square. These shams are placed at 
the head of the bed, over the pillows. They can be made as ornamental as 
desired, or as simple. The hems are generally finished with hemstitching, 
and the center ornamented with design; sometimes a monogram or initial 
is added. 

Pillow Scarf .—A long scarf, preferably of fine linen or bolting silk, 
though other materials can be used. This scarf should be from one and a half 
to three yards long and 27 to 36 inches wide. The ends can be fringed out, or 
hemmed and a row of drawn work added above the hem. Above this 
should be embroidered a design of flowers, done solidly in fine silk or linen 
threads. The sides should also be 
hemmed. Tie the scarf in the middle 
with a large bow of ribbon and suspend 
on a hook placed in the top of head 
board; the ends of the scarf fall over 
the pillows, making a very graceful bed 
trimming. 

Commode and Dresser 
Scarfs. — A strip of linen or other 
white wash fabric, just as wide as the top 
of dresser or commode and long enough 
to fall easily over the ends. The designs 
and style of work may be done to suit the 
worker's fancy. The ends may be 
hemmed, fringed or trimmed with lace. 
Figure 74 shows a white linen scarf hav- fig. 74. 

ing the ends finished in Roman embroidery with white etching silk. 

Splashers. — A piece of linen or other material used to protect 
the wall back of the commode when the wash bowl and pitcher are used on 
it. The edges are stronger if finished with a hem, though some ladies pre- 
fer a short fringe, made by raveling out the material. The splasher should 
be embroidered in outline, as more elaborate work would here seem out 




DAINTY WORK FOR PLEASURE AND PROFIT. 



of place. The material for outlining splashers may be linen floss, No. 8, 
etching silk, wash twist or embroidery cotton, and some ladies who wish to 
be sure of a color that will stand boiling, ravel out the blue stripes in bed 
ticking and use the thread thus obtained. 

Toilet Sets— Usually consist of one mat for cushion to rest on, one 

large and small cushion and a 

pair of covered bottles. These 

articles can be made as orna- 
mental as one chooses. Figures 

75, 76 and ']'] show large cushion 

and pair of bottles covered with 

white bolting silk, worked in 

Roman embroidery designs with 

white etching silk. The cushion 

and bottles are first covered with 
pale blue silk, over which the bolting silk cover is stretched. 

Other models than those here shown can be used for toilet sets, and, 
the coverings may be made of plain lawn, bolting silk, or even fine shirt linen 
and decorated with embroidered designs done in outline or solid Kensing- 





FiG. 75. 



FIG. 76. 



ton stitches. 
Oftentimes the 
dressing case is 
furnished with 
two or three 
small and fanci- 
fully -shaped 
cushions, beside 
the larger one. 
In this case the 




same material 
and designs are 
carried through- 
out the entire 
toilet set. It is 
more satisfac- 
tory to purchase 
the cushions 
stuffed ready 
for the covering, 



FIG. ■]■]. 

and as the charge for even good sized cushions is very moderate it hardly 
pays to bother with this part of the work. Where it is desired to make the 
cushion at home a few hints may be helpful. First, bran makes the best 
possible filling, and the cushion should be stuffed with it until no more 
can be packed in. A blunt piece of iron or wood is a great help in pushing 
the bran into the corners. 



ART OR FLAT EMBROIDERY. 



85 



OUTLINE AND COMBINATION EMBROIDERIES. 

So much effective work can be accomplished by means of outline 
stitches, used alone and in combination with simple short and long stitch 
and buttonhole outline, that we feel the subject cannot be too fully dis- 
cussed. 

There are so many of our sisterhood who have neither time, eyesight 
nor means to indulge in intricate and elaborate needlework, and who, not 
having the least conception of the beauty and easy accomplishment of out- 
line embroideries, settle the matter by ignoring the subject of decorative 
needlework in toto, that we feel we shall have failed in accomplishing the 
purpose of this book, as set forth in the introduction, did we not fully and 
clearly set before the readers all the possibilities of the simpler forms of 
decorative needlework. 

PILLOW SHAMS. 

As an illustration of what can be accomplished in this direction with 
little time and money we will give an example of outline, and outline com- 
bined with other stitches, applied to articles of household use. 

A pair of pillow shams of bleached cotton factory are quite good 
enough for everyday service, and will cost, ready stamped, with real Scotch 
linen floss No. 8 for working in outline, 40 cents. If the design selected 
be pretty and graceful and the work neatly done, the result will delight the 
heart of the most fastidious house- 
keeper. The model we have in mind 
as we write consisted of a wide scroll 
through the center of sham, on which 
were the words, "Sweet Dreams." 
Springing from top and bottom of 
the scroll was a graceful arrange- 
ment of eight full-blown poppies, 
two buds, eight leaves, and stems. 
Thus it will be seen the design was 
quite elaborate. Figure 78 shows fig. 78. 

one poppy done in simple outline, and the whole design was so worked. 

If more elaborate work be desired the design can be wrought out with 
pointed buttonhole short and long stitch for the poppies, and simple 




86 



DAINTY WORK FOR PLEASURE AND PROFIT. 




short and long stitch for the leaves, with outline stitch for the stems. The 
additional cost would be about 25 cents. Figure 79 shows the pointed 
short and long stitch, which is made by taking five stitches as follows: one 
short stitch, which for convenience we will call No. i; then a stitch a little 

longer, which we will call No, 2, and 
another stitch still longer, which will 
be No. 3. Having worked these 
three stitches in the order named, 
side by side, and from left to right, 
repeat No. 2 on the right of No. 3, 
and No. i on the right of No. 2, thus 
forming a point of five stitches, the 
longest of which is in the middle. 
FIG. 79. Repeat the point around the outline 

of design. In taking the short and long stitches hold the thread the same as 
for making a buttonhole; this forms the edge. The middle stitch being the 
longest determines the depth to which the leaf or petal will be worked, 
and the length of this stitch must be determined by the size of the design. 
Figure 80, as we have said, shows a leaf of poppy worked with simple 
short and long stitch, which has been fully described in the chapter on 
stitches. 

The shams can also be effec- 
tively worked by using all three 
stitches in the same design; for 
instance, work some of the pop- 
pies with the pointed short and 
long stitch, as shown in figure 79, 
and others with the outline stitch, 
as shown in figure 78; while for 

the leaves, work some in outline fig. 80. 

only and others with the simple short and long stitch, as shown in figure 80, 
and of course work the stems in outline. One shade of silk or linen can be 
used for all the work. The letters on the scroll, as well as the outlines of the 
scroll itself, should be worked out with the outline stitch, or if a more elab- 
orate effect is desired satin stitch may be substituted 




ART OR FLAT EMBROIDERY. 



SPLASHERS. 



The two designs shown in figure 8i are excellently adapted for splash- 
ers, and for either of them the simple outline stitch alone will be quite 
enough, for from the nature of the pattern the effect will be elaborate. 
However, if time and inclination permit, a few fancy filling stitches can be 
added to certain portions of the design on the right. For instance, the 
crescents can be filled with plain darning stitch, the petals of the star-shaped 
flower can be filled with honey-comb stitch and the triangle-shaped spaces 
with crowsfeet, while the outlines of these and the balance of design can be 
outlined. In case this plan of working is followed two shades can be effect- 
ively employed, as white and yellow, green and white or blue and white, or 
two shades of one color. 




FIG. 8l. 

For the design on the left — the flight of birds — outline stitch alone will 
be far more effective and appropriate. The birds can be outlined with 
three shades of fawn brown; that is, work one bird in one shade, the second 
bird in another shade, and the third bird in still a deeper shade of the same 
color. The water lines can be worked with an old blue, one shade; while 
for the lilies use cream white, and for the lily pads and flag stalks use two 
or three of the shades used in working the birds. Of course any other 
scheme of coloring can be followed out. We merely offer the above as a 
suggestion, for in fact the entire pattern could be correctly worked with 
only one shade if it were so desired. The amount of material necessary for 
these splashers will be two pieces of butcher's linen or brown crash, 27 x 36 
inches. Hem the edge with hemstitching. For the design on the left will 
be required, of Scotch floss No. 8, one skein of each of the colors men- 



88 



DAINTY WORK FOR PLEASURE AND PROFIT. 



tioned in this connection. For the design on the right, three skeins of the 
color used for the outline and one skein for the fancy stitches will be suffi- 
cient. 

BORDER FOR LUNCH CLOTH. 
This border is equally suitable for lunch cloth or center cloth, and 
worked out as indicated in the design here shown will be at once beautiful 
and inexpensive. For the cloth a good quality domestic linen or satin 

damask should be used. 
All the leaves and con- 
necting outlines should 
be worked with button- 
hole stitch over German 
cord, No. I, with either 
Scotch linen floss or etch- 
ing silk, and the surface 
of the leaves filled in 
with the combination of 
filling stitches, as shown 
in design, or with any 
one of them, as pre- 
ferred, though we think 
the effect is richer when 
the combination is used. 
The stitches here shown 
^'1^'- 82. are honey-comb, single 

basket, daisy star, diamond couching, crowsfeet, cross stitch, star and 
darning, all of which will be found described in the chapter on stitches. The 
amount of material for making the cloth will depend upon the size of the 
cloth, from 27 to 54 inches square being the usual sizes. For the first-men- 
tioned size five skeins German cord. No. i, eighteen skeins wash twist, for 
working buttonhole stitch over the cord, and two dozen skeins etching silk 
for the filling stitches, will be required. For the last-mentioned size double 
the amount will be needed. 

If this design is desired as a border for a large cloth cover for large 
table the leaves will look exceedingly well filled with point d'reprise, 




ART OR FLAT EMBROIDERY. 



89 



rosette stitches and d'Alencon bars, worked with art cord and the outlines 
finished with rope silk in outline stitch. 

The method of working the three stitches mentioned will be found in 
Chapter V. 

SCARFS. 

Figure 83 shows designs for three scarfs, suitable for either sideboard 
or dressing case. Butcher's linen, huckabuck, domestic linen or satin dam- 
ask can be used for the scarfs, though of course the last-named fabric is 
the most expensive. Two yards of 40 inch butcher's or domestic linen will 
make two scarfs, costing, according to the quality of linen, 80 cents or one 




FIG. 83. 

dollar for the pair. The sides should be finished with a narrow hem hem- 
stitched down, and the ends with either a fringe formed by raveling out the 
linen to the depth of nine inches, or with torchon lace sewed on, or with a 
hemstitched hem, with a row or two of drawn work above. The designs on 
all three of these scarfs are purely conventional. The one on the scarf at 
the left is a very graceful scroll, which will look exceedingly well outlined, 
and having the surface of design filled in with open basket stitch. "Another 
effective treatment would be to outline the stems, leaves and stamens, and 
fill all the rest of design with short and long stitch. To work the design 
in the manner indicated last will require six skeins Real Scotch linen floss, 
or eighteen skeins Royal floss silk; while for the treatment first mentioned, 
about half the amount named would suffice. 



90 



DAINTY WORK FOR PLEASURE AND PROFIT 



The center scarf is a beautiful design in Roman embroidery, and should 
be worked according to instructions given for that style of work at the 
beginning of this chapter. The design in question is very lacy and light, 
owing to the great number of lace or connecting lines. The material for 
working this scarf may be either silk or linen; if the former is used two 
dozen skeins wash twist, six skeins of German cord, No. I, and one dozen 
skeins etching silk will be required. Use the wash twist for the lace lines 
and for buttonholing over the German cord around all the outlines, and use 

the etching silk for filling in all the star- 
shaped figures with fancy filling stitches — of 
which there may be a variet}% or only one 
throughout entire design, as preferred. Hon- 
ey-comb, brick, star, crowsfeet and darning 
will all combine effectively. For the very 
center of each star figure crochet over a 
brass ring, large enough to cover the circle 
m in the center, with the wash twist, sew firmly 
to the foundation, exactly over the stamped 
circle, with a thread of the silk used to cro- 
chet with, after which cut the cloth away 
from the back. In a design having so many 
lace lines care must be observed to twist all 
the threads forming those lines, according to 
directions given for that part of the work in 
the lesson on Roman embroidery. 
The scarf on the right, in figure 83, is a very pretty all-over pattern, and 
particularly appropriate for a sideboard. Work in outline stitch alone, and 
use not more than three colors or shades— and one only will be very beau- 
tiful. For this design two dozen skeins etching silk or one dozen skeins 
Scotch linen floss. No. 8, will be required. 

Figure 84 shows a scarf finished around the edges with fancy stitches 
and having the surface from end to end covered with a daisy pattern. This 
scarf can be used as a cover for side board, runner for dinner table or as a 
dressing case scarf; etching silk should be used for the stitches around the 
edges and filo floss for the design over the surface; two shades of pink, blue 
or brown will be effective. 




FIG. 84. 



ART OR FLAT EMBROIDERY. 



91 



DOYLEYS. 

There are many different methods of decorating doyleys, chief among 
which are the all-over and the Dresden designs. The former style is well 
represented by the two illustrations shown in figures 85 and 86. The two 




DOYLEY. FIG. 85. 

designs are given full working size and can be transferred to the material 
according to the directions given in Chapter IV. The edges of doyleys 
are usually finished with a very narrow hemstitched hem. To work figure 
85 will require four skeins of filo floss, as follows: Shades Nos. 1202, 1240, 
1242 and 1260; as will be seen from the table of shading, these colors 



92 



DAINTY WORK FOR PLEASURE AND PROFIT. 



arc pure white, pale green, dark green and pale yellow. Use the 
white for the clover heads, the pale yellow for outlining the circles, the 
dark green for the clover leaves and the pale green for working the dotted 




FIG. 



vines that connect the circles; or, a very good effect can be produced by 
using both shades of green in this portion of the design, outlining the vines 
with the deeper shade and working the dots with the lighter shade of green. 
The stitches necessary will be outline for vines, circles, clover heads and 



ART OR FLAT EMBROIDERY. 



93 



leaves, and spot stitch for working the dots at the end of the vines. The 
four skeins of silk necessary to be purchased in order to secure the shades 
mentioned will not be used in working this design once, in fact but a few 
threads from each skein will be needed; but the same colors can be 
employed for working figure 86, using the white for the snowdrop and 
flower, the pale yellow for the center of flower, also to outline circle; use 
the two shades of green for working the foliage of snowdrop and the 
maiden hair ferns that connect the circles. As will be seen from the 
example given above a variety of designs can be wrought out with the same 
colors, and it is well, in selecting patterns, to bear this in mind, as it saves 
purchasing so many more skeins of silk or linen than are actually needed 
for the work in hand. 

There are many new and beautiful designs for small fruit and finger 
bowl doyleys that are designed to be worked in solid Kensington stitch. 
As doyleys for the purposes named above are rarely over four to five inches 
square it follows that the designs for them must be of a light and dainty 
character, and where it is wished to use large sized flowers for this purpose, 
they must of necessity be drawn in miniature. 

Figure 87 shows a set of six doyleys ornamented with flowers in minia- 
ture, designed for solid Kensington stitch. The designs for this set were 
drawn expressly for this book and are among the most artistic floral 
arrangements we have ever seen. 

The materials for these doyleys may be bolting silk, linen lawn, or fine 
shirt linen. The edges may be hemstitched or fringed, but the former 
mode of finishing is the one most commonly employed. 

No. I. Narcissus. The arrangement here shown is particularly light 
and graceful and will require four shades of filo floss for working in Ken- 
sington stitch. Pure white, No. 1200; green, two shades, Nos, 1240, 1241; 
yellow, 1460. Work all the narcissus petals and the throat of the flower 
with No. 1200. The cup in the center should be worked with the yellow, 
and the calyx with the lightest shade of green. The leaves should be 
worked with both shades of green, using the darkest shade in the shaded 
and lower portion of leaf. 

No. 2. Morning Glories. ' For this design will be required of filo floss 
green, Nos. 1240, 1241, 1242; pink, Nos. 1288, 1289, 1290; by comparing 
these numbers wUh those indicated for the narcissus doyley, it will be seen 



94 



DAINTY WORK FOR PLEASURE AND PROFIT. 



that but one additional shade of green is required, namely 1242. Use the 
last named shade for the veins, stems and shaded portion of leaves; for the 
tendrils and calyx use the lightest shade. The throat of the morning glory, 
inside and outside, should be worked with the palest shade of pink and be 
lightly streaked with the shade next deeper. The edge of the petal should 
be worked with the two deepest shades; for the buds use No. 1290. 

No. 3. Peach Blossoms. For this design pale pink, white, pale yellow 
and a shade of brown filo floss will be required. Work the blossoms over in 




FIG. 87. 

solid Kensington stitch with the white filo floss, then with the pale pink, 
No. 1288, work over this lightly in the same stitch; fill the center with a 
French knot of pale yellow. No. 1260. For the leaves and the young stems 
use the pale green. No. 1240, and for the branch use the brown, No. 1296. 
For this design only one additional color will be needed, namely. No. 1296, 
All the others having been used in doyleys No. i and 2. 

No. 4. Poppies. If it is decided to work the poppies in either pink 
or yellow only two additional shades will be necessary, Nos. 1261 and 1229, 
as those used in the preceding doyleys will give correct shading. For large 



ART OR FLAT EMBROIDERY. 95 

design of poppies, wrought out with elaborate detail, we should prefer the 
line of silver green for the foliage; but in this design there is so small a 
surface of green that those shades used for the narcissus and morning 
glories will answer very well. In working the foliage use the lightest shade 
of green for the turned leaf, and the darkest shade, or No. 1242, for the 
under side of the same leaf; for the stem and bottom portions of seed pod 
use the brown, shade No. 1296; for the top of seed pod use the lightest 
shade of green, No. 1260; if a red poppy is preferred then additional 
shades will be required, namely, Nos. 1340, 1341, 1342. For the disposition 
of the shades in the poppies see illustrations in the Chapter on Shading. 

No. 5. Pansies. A design of pansies is sure to appeal to the heart of 
every lover of flowers, for of all flowers it seems to be the one that is 
universally held dear, either for the sake of its almost intelligent beauty or 
for the sake of old memories and associations. At all events it is certainly 
the flower of the rich and poor alike. In shading pansies it is more satis- 
factory to select a cluster and shade them as near like the original as the 
silk thread will permit. To give a rule for shading pansies would be like 
giving a cut and dried receipt for making human faces and we fancy the 
result would be almost the same in either case, an absolute failure; how- 
ever, as there are some ladies who insist on having a receipt or rule for 
everything they do, we will try to give a simple shading that can be easily 
followed. But, ah! if the reader loves the pansy, how tame and spiritless 
will seem the result. When embroidering this flower we always feel as 
though it has a sentient existence, and we are therefore in honor bound to 
do it justice; to give expression to its inmost thought and feeling — for who 
can look at the lovely and expressive face of a pansy and doubt for a 
moment that it docs think and feel. 

For a deep purple pansy, four shades of purple filo floss, Nos. 1300, 
1 301, 1302 and 1304 will be required; for the eye or spot in the center, a 
pale yellow may be used, No. 1260 will answer, and for the stem and calyx 
Nos. 1241 and 1242. Begin at the outer edge of the top petal and with the 
lightest shade of purple work to the center, blending in gradually the 
deeper shades. For the lower or under petals, the rule may be reversed, 
beginning at the edge with th^ deepest shade and blending in to the center 
with the lipfhtest shades 



96 



DAINTY WORK FOR PLEASURE AND PROFIT. 




No. 6. Fuchsias. This design is a very graceful arrangement of that 
somewhat difficult flower— difficult both as to the setting of stitches and the 

coloring. The best effects are 
obtained by commencing at the 
edge of lower petals and working 
upwards toward the calyx. The 
colorings of this flower are many 
and varied, from combinations of 
pink and white to red and purple. 
The natural flower is the best 
guide for shading, as we might 
here indicate colors which the 
reader has not chanced to see 
duplicated in the natural flower 
yet which has been taken by us 
direct from the hand of Dame 
Nature herself. In shading a 
purple and red fuchsia the under portion of the flower should be a deep red, 
best copied in shade No. 1209 or 1212, while for the upper portion, No. 1304 
or 1374 will come as near the cor- 
rect coloring as our materials will 
allow. The sepals and stamens 
should be a purplish white; for the 
stems and foliage, shades Nos. 
1 240 and 1243 maybe used. Fuch- 
sias can also be worked in satin 
stitch with good effect. 

Doyleys are frequently 
worked with a combination of 
satin, spot and seed stitches and 
French knots. When these 
stitches are used the doyleys are 

generally made of fine lawn cr fig. 89. 

shirt linen, worked with white embroidery cotton, linen floss or silk floss. 
Figure 88 shows a small square fruit doyley, with a leaf design suitable 




ART OR FLAT EMBROIDERY. 97 

for this kind of work. The stems are worked with heavy outline stitch, 
the lower half of each leaf is worked in satin stitch taken at an angle, 
of about 45 degrees as shown in figure 17, on page 32. The surface of 
that part of the leaf is first raised, by taking running stitches length- 
wise with two or three threads of linen floss threaded in a large-eyed 
needle; after this filling is in, work the satin stitch smoothly and firmly over 
it. The upper half of the leaf may be made very effective by working the 
edge to the depth of one half-inch with satin stitch, following the outline 
of the leaf, and filling in the balance of the surface with either French 
knots, spot or seed stitches; or, the upper portion of some of the leaves in 
the design may have spot stitch, some seed stitch, while others may be 
filled with French knots. Indeed, this combination is very effective where 
there are several leaves in the design. Figure 89 shows a style of decora- 
tion that is equally effective worked out with solid Kensington stitch or 
satin stitch, in pale lily green Royal floss; or, pure white may be used with 
equally artistic results. The two figures here presented may well form 
part of a set of six or twelve doyleys, each one of which may have a differ- 
ent pattern. If the designs shown in figures 88 and 89 are used they should 
be enlarged four times. 

SCROLL BORDER FOR CENTER CLOTH. 

The scroll border shown in Figure 90 should be enlarged ten times its 
present dimensions to give the correct working size. This pattern is 
susceptible of different modes of treatment, and we will indicate two, 
either of which will give satisfaction to the worker. 

Treatment No. i. Stamp the design on a piece of white satin damask. 
To embroider: Use Royal floss and work the outlines of every portion of 
design with short and long stitches, with buttonhole edge, in cream white. 
Then, with a light shade of golden brown, No. 1347, blend into the first 
row of stitches another row of plain short and long stitch, and into this 
again another row, using a deeper shade of the brown, No. 1348. Work 
the leaves and petals with this blended short and long stitch into at least 
two-thirds their depth. For. the leaves use a deep golden brown, shade 
No. 1351, and work the stems in solid Kensington stitch with shade No. 
1353- i^ill the center of the flower with French knots, worked close 



98 DAINTY WORK FOR PLEASURE AND PROFIT. 

together, with No. 1351. After the embroidery has been finished cut away 
all the material from the edges, following the outlines of the pattern. Be 
careful not to cut the buttonhole edge. To blend one row of short and 
long stitches into another, work between the stitches in the first row, not 
crowding or working solidly as for Kensington, but fill in lightly, allowing 
the background to show through the stitches, or rather between them. 

Treatment No. 2. Outline all the edges of design with German cord. 




FIG. go. 

No. I, worked over with buttonhole stitch in pale gold etching silk, No 
1260. Fill in the petals of the flowers with a matting of cream white filo 
or Royal floss, using three or four strands in the needle, and working from 
one edge of petal to the opposite edge, after the manner of laying threads 
in Spanish laid work. When the matting or foundation has been laid 
solidly, allowing nothing of the fabric to be seen through, work over it a 
couching of gold thread, using the pattern shown in figure 30, on page 38 



ART OR FLAT EMBROIDERY. 



99 



Fill the leaves with honey-comb stitch, worked with the cream white 
etching silk and vein in outline stitch with the gold cord. 

There are other combinations of stitches and colors that can be used 
with equally good effect and which will suggest themselves to the 
worker. 

FLORAL CENTER CLOTH. 

The center cloth shown in figure 91 is designed for Kensington effects, 
and will look best wrought out on satin damask or bolting silk, with filo or 




FIG. 91. 
Royal floss. The colors may be nearly or quite true to naturw or they may 
be slightly conventionalized. Pale gold for the crescent, three shades olive 
green and three shades pale pink for the floral design around the crescent, 
and a combination of blue and gold, pink and brown and green and orange 
harmoniously blended, for- the butterflies, will produce an artistic effect. 
The orange should be used very sparingly, and may be omitted altogether 
if desired, though a very Uttle of it judiciously used, gives character to the 
shading. 



100 



DAINTY WORK FOR PLEASURE AND PROFIT. 




BOOK COVERS. 

For many centuries, ladies of rank and wealth have delighted to work 
with rare and dainty device covers for missals, prayer books and choice 
volumes. Many of these covers have been preserved as treasures of 

decorative art. In the Eighteenth cen- 
tury the art of decorating covers fell into 
disuse; but it has again been revived, 
not indeed on so elaborate a scale as 
formerly, as the covers embroidered in 
these degenerate days are intended for 
practical use rather than as specimens of 
elaborate workmanship, many of them 
pjQ ^2, being used to cover paper-covered novels 

and account books, and also books whose handsome and expensive bindings 
need protection. Figures 92 and 93 show two designs which are at once 
simple and pretty. Figure 92 is a Dresden design worked out with pink 
and white filo floss on white duck or 
canvas, while figure 93 shows a con- 
ventional design treated with brown 
rope linens on white canvas in outline 
stitch and French knots. There are 
many other designs that can be adapted 
for this purpose, floral or otherwise, but 
the two here given will serve as an in- 
dication of what may be accomplished pjQ g, 
in this direction. These book covers make cheap and always acceptable 
wedding or christmas gifts. For putting covers on see Chapter on "Dainty 
Trifles." 

ROUND CUSHIONS. 

Cushions are or should be suggestive of restful comfort, and to that 
end should be stuffed loosely yet with suflficient filling to be soft, and the 
outer covering should be of a material meant for usage rather than orna- 
ment. Cretonne, gobelin cloth, figured silk, art linen and tapestry linen are 
all suitable fabrics as they can be laundered without injury; the decoration 
should be flat and done with thread that will stand both wear and cleansing. 




ART OR FLAT EMBROIDERY. 



lOI 



The shapes in which cushions have been, are, and ever will be made 
are many and varied. Some are large and some are small, while they may 
be round, square, oblong, high or flat as fancy suggests. In the different 
pages of this book will be found further suggestions and illustrations of 
this subject, but in this place we wish to show a model suited for art 
embroidery which in its turn, will suggest other suitable forms of ornamen- 
tation. 

Our model, figure 94, shows a round cushion having a puff of wood 
brown India silk around its edges. This puff is applied to the cushion 




FIG. 94. 

proper and is not connected with the cover, which consists of two circular 
pieces of cream white gobelin cloth, about 18 inches in diameter. Only 
one of these circular pieces is to be ornamented, on it draw three small 
disks, using the top of a large-sized goblet for a pattern; then, with a 
pencil, draw in the connecting scrolls. Or the pattern here given can be 
enlarged by means of a pantagraph. 

To work: Outline the disks with old blue couching silk No. 1227; 
couch this down with a single thread of etching silk two or three shades 
lighter, shade No. 1225 will answer very well. Over the surface of the 
disks lay rope silk, shade No. 1226, solidly from one outline to the outline 
opposite, and couch down with gold thread as shown in figure 25 on page 



102 



DAINTY WORK FOR PLEASURE AND PROFIT. 



35. Work the scrolls with rope silk in heavy outline stitch with shade 
No. 1228. Finish the edges of both circular pieces with a strong button- 
hole edge and either work eyelet holes at regular distances apart on the 
edges of both of these pieces, so that they will be exactly in line with each 
other when the two covers are placed one over the other, or crochet small 
brass rings over with golden brown etching silk and sew them to the edges 
in place of the eyelet holes. Place the plain circle on the bottom of 
cushion and the embroidered one on the top and lace them together 
through the eyelet holes or rings over the puflfings of silk on the side, by 
means of a heavy silk cord of a color several shades lighter than that used 
in the puffing. When the cushion cover is soiled it may be unlaced, 
removed and laundered. 

Any other scheme of harmonizing colors may be used in place of the 
one suggested. In fact, the models given in a work of this kind should 
serve as a stimulant to the inventive genius of the worker rather than to be 
slavishly followed. 

TABLE COVERS. 

Covers for dining tables, where the dining-room is used for a s'tting- 
room as well, is a question which may prove of interest. Covers for this 

purpose should always be 
in keeping with the other 
appointments of the room. 
If the furniture is hand- 
some polished oak then 
some color that contrasts 
or harmonizes with that 
wood should be chosen. 
The same is true of other 
woods, as cherry, walnut 
or mahogany. If the wood- 
work and furniture be pol- 
^^^^ ished oak, then old blue, 
FIG. 95, DETAIL OF FIG. 96. oHvc grccu, amber, dark 

terra cotta, Nile green, sage or lilly greens, tan and wood browns or old 
rose shades will be effective and artistic. . If the furniture and woodwork 




ART OR FLAT EMBROIDERY. 



103 



of the room be black walnut then deep crimson, light old gold, rose color, 
light terra cotta or pale blue will be appropriate. The quality of the ma- 
terial will depend, as we said before, upon the purse of the owner or the 




FIG. 96. 

furnishings of the room. Felt, satteen, Morris cloth, basket silk, mail cloth 
and Devonshire art cloth are all elegant and expensive, while artistic and 
beautiful effects may be obtained by using hollywood drapery, Bargarren 
art cloth, or tapestry linen, at half the price of the former fabrics. The 



104 



DAINTY WORK FOR PLEASURE AND PROFIT. 



designs for decorating these spreads may be conventional or floral, but in 
eitiier case the shading should be slightly conventionalized. Broad leaves, 
flowers and scrolls look best worked out with the coarse embroidery 
threads, while the filling stitches, such as double basket, close basket, rosette, 
point de reprise and D'Alencon bars, are all appropriate for filling portions 
of the design, which may have all its outlines finished in outline stitch with 

rope silk. Figure 96 shows a corner of 
table spread made of Devonshire art 
cloth. The border is worked in cross 
stitch with Bargarren art thread; the 
flower is a conventionalized chrysan- 
themum. Figure 95 shows section of 
border in detail; each stitch is crossed 
"^^"^'^ over one square or mesh of the good . 
as will be seen from the illustration; 
therefore it will be necessary only to 
count the meshes, estimating one mesh 
for each time the thread is crossed in 
figure 95, to work out the design here 
given. The fringe is made of the Bargarren art thread tied in the edge and 
and knotted, knotting with four threads each time. The chrysanthemums 
are worked out with the Bargarren a:t 
thread, with short and long stitches, in 
three shades of wood brown, and the bor- 
der with four shades of the same color. 
The two darker shades are also used in 
the fringe. This is a very effective de- 
sign and can be worked out with little fig. 98. 
expense for material. Cross stitch works up rapidly on a mesh of the 
size here shown, and will therefore commend itself to ladies whose time 
has to be considered. For the exact design, working size, enlarge with 
a pantagraph five times. In the Chapter on "Berlin Stitches" will be 
found designs that will make a beautiful border for this material. 

Bargarren art cloth is an artistic and inexpensive fabric for table cov- 
ers. Our model, figure 97, shows a cream white Bargarren art cloth cover. 




FIG. 97. 




ART OR FLAT EMBROIDERY. 



105 




The border was first stamped with star shaped flowers, in groups, at regular 
distances apart. See figure 97. These were outlined with Bargarren art 
thread, in cream white, after 
which the cover was darned from 
the bottom edge around the four 
sides, to a depth of 18 inches, 
with the palest shade of lily green 
Bargarren art thread. Figure 99 
shows the star shaped flower out- 
lined and the border darned, in 
detail. Figure 98 shows a sec- 
tion of the material with the 
needle darned through the 
meshes. These illustrations show 
the method of darning Bargarren 
art cloth, huck-a-buck and con- 
gress canvas, as well as the effect fig. 99. 
when the work is finished. If one has a smooth material that will not ad- 
mit darning the background, an equally good effect can be obtained by 
couching down two threads of Bargarren linen instead of darning them in, 

CURTAINS AND PORTIERES. 

Curtains are generally understood when window draperies are intended, 
and portieres when the hanging or drapery is designed for doors, either 
double or single. Door and window draperies can be made at home at 
much less expense than is possible when they are purchased ready made, 
provided some member of the family is equal to their ornamentation. The 
material best suited for window draperies depends upon the use of the 
room in which they are to serve, the general style and cost of the other 
furnishings, and somewhat upon the taste of the owner. Swiss muslin, bolt- 
ing silk, India silk, Brussels net, Madras muslin, cretonne. Gobelin cloth, 
dotted Swiss, for light draperies; mail cloth, satteen, tapestry linen, art 
linen, Hollywood drapery, Devonshire art cloth, Morris cloth, bolton 
sheeting, where heavy draperies are desired, are all suitable. The orna- 
mentation should be simple or elaborate, according to the position the cur- 
tains are to occupy. If draperies for bedroom windows are desired, then 



io6 



DAINTY WORK FOR PLEASURE AND PROFIT. 



scrim, dotted muslin, bolton sheeting or India silk may be appropriately 
used, and their decoration should be of a -simple character. For sitting- 
room windows the same materials may be employed, but the ornamentation 
should be of a different character. For use in parlor and library the mate- 
rial employed should be richer than that used for other portions of the 
house, and the ornamentation more elaborate. In fact a sliding scale of 
elegance may be adopted, with excellent results, beginning with the sim- 
plest for the sleeping and living rooms, and progressing gradually until the 
parlor is reached. Beware of making the fatal mistake of having the 
hangings for doors or windows more expensive than the other furnishings. 

SCREEN3. 

Screens, large and small, are most convenient possessions for any 
housekeeper. They may be ornamental, for bedroom, parlor, library or 

dining room; or they may be designed 
strictly for utility — strength, rather than 
beauty, being the desideratum. These 
screens are desirable for verandah ser- 
vice, to protect one from draughts, the 
too ardent rays of the sun, or the too 
curious gaze of the passer-by. 

A prettily decorated screen is par- 
ticularly filling, and will ofteri supply 
just the bit of color and furnishing 
needed to brighten an otherwise dark 
and bare-looking corner; but there 
should always be some apparent use 
for a screen. It should not be set up in 
a corner, like a statuette, to be admired; 
FIG. 100. it is not primarily an article of orna- 

ment and there should be some reason for its presence; so, in disposing a 
screen let it serve a purpose, either to conceal an open grate in summer; to 
protect the occupant of some favorite chair from the heat of an open fire 
in winter; to half conceal or half expose a pretty cabinet filled with bric-a- 
brac, or even to enclose a cozy nook holding a tiny table, an easy chair and 
a few clioice books. 




ART OR FLAT EMBROIDERY. 107 

In making and decorating a screen we should consider the room in 
which it is to be placed; even the especial position in that room it is to 
occupy. Parlor screens are generally more ornamental than useful, and 
therefore may well be smaller, lighter, and in every way more daintily 
ornamented than those screens designed for use in any other part of the 
house. 

The screen shown in figure 100 is a pretty model for parlor corner 
screen. The foundation is of white wood, painted robin's-egg blue with 
English enamel. The upper portion of each panel is filled with a small 
rose-colored glass panel. The lower portion of the screen is filled with 
robin's-egg blue satin panels. Around each panel is a border of roses, car- 
nations, foliage, etc., in miniature, while over the surface of the panels the 
same flowers are arranged in graceful sprays in natural size. The border 
should be worked with satin stitch, in Royal floss, and the center of the 
panels with Kensington stitch, in filo floss. The colors required for work- 
ing the design as shown in the model will be, pale pink, three shades; 
cream white; sage green, three shades. After the design has been stamped 
upon the satin panels they should be lined with crinoline. Both sides of 
this screen can be made equally ornamental by working two pieces of satin 
for each panel instead of one, not necessarily with the same design, how- 
ever. 

APPLIQUE EMBROIDERIES. 

This style of decorative needlework is of ancient origin, being first 
employed for church work. There are several styles of applique, but the one 
most commonly employed is where the design is applied to the foundation, 
having the edges finished with buttonhole stitch, or a cord couched down 
along the outlines. Another method also much used is to stamp the 
design on the foundation, which has previously been lined with some con- 
trasting color. In this case the edges of the design are worked with but- 
tonhole stitch or with the couched cord, after which the material is cut 
away from the edges of the design. The appearance is that of inlaid work. 

One of the most popular appliques is that of fine lawn or muslin upon 
net. A pair of pillow shams and a spread to match, of net, decorated with 
a conventional floral design, can be made up at a merely nominal expense. 
Stamp the design upon the muslin, after which tack the muslin over the 



io8 DAINTY WORK FOR PLEASURE AND PROFIT. 

net; run with fine stitches all the outlines of the design, thus fastening them 
to the net, then with fine embroidery cotton work all the outlines with fine, 
light, buttonhole stitch. In the centers of flowers wheels may be worked, 
while leaves may be filled with tiny seed stitches and stems worked over 
with outline stitch. After this has been done, all the muslin should be cut 
away from the net except the part comprising the design. After the mus- 




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•>:*:«:«:«:«:*:«:*:*:«:*:«:««.«:«K«.*;»:«:*.««:«:«;»:«:«:*:»»:«:«.»:«:«.4;«.*.«.«.*.*.».*.«.«.*.«.«^^ 

Bi-*w«»»:«:«:*:*»:*:*»:«»jt:ai«m«:«:*:*!»:«:*:«:*:«:*:«:«:«:*:«.«:*:«:«:*.«.».«.«.*.».»:*.«.«.*.«,«.»,«^«,< 

Al'l'LlyUK ON NET. FIG. lOI. 

lin has been cut away, sprays and scrolls may be darned directly into the 
net with the cotton. These sprays should always start from some portion 
of the muslin design and appear to be a part of it. Figure 10 1 will illus- 
trate our meaning, and also give a good idea of .the effect of net-applique 
when finished. The edges of spread and shams should be finished with 
buttonholed scallops. 



ART OR FLAT EMBROIDERY. 



109 




EMBROIDERED ARTICLES OF DRESS. 

There are other uses for ornamental needlework, aside from that used 
on household decorations; namely, ornamenting articles of apparel. 
Daintily embroidered handkerchiefs, collars 
and cuffs, dressing sacques and the numberless 
elegant trifles of the wardrobe so dear to the 
heart of the refined woman, so utterly impos- 
sible to the refined poor woman, unless she 
herself can embellish them with embroidery, 
are within the reach of all who desire them and 
are willing to give the time necessary for their 
production. Fine linen handkerchiefs with 
hemstitched hems can be purchased for a trifle 
at any of the large stores; an initial or mono- 
gram worked in the corner with white embroi- 
dery cotton or linen floss will change a sim- 
ple article into one of luxury. Again, from a 
piece of Indian mull or linen lawn four inches 
square and a strip of the same material three inches wide and 24 inches 
long can be produced a handkerchief that could not be purchased for $3.50. 
With fine embroidery cotton work a tiny scallop in 
buttonhole stitch along one edge of the three-inch 
strip, then over the surface of the strip work seed 
or small spot stitches with the same material; in 
the center of the square piece work an initial inside 
a half-wreath of forget-me-nots, or a monogram 
without the wreath. This part of the work should 
be done with satin and spot stitches combined, 
using the white embroidery cotton for the purpose. 
After the needlework is finished, gather the strip of 
lav\'n by rolling the edge lightly and taking an over- 
hand running stitch; put this strip on the square 
with an over-hand stitch also. The above method 
indicates but one of many ways in which elegant handkerchiefs can be 
obtained at little cost to the owner. It is a pretty fancy to buy a dozen 



HANDKERCHIEF CORNER. 
FIG. 102. 




DESIGN FOR PARASOL. 
FIG. 103. 



no DAINTY WORK FOR PLEASURE AND PROFIT. 

plain hemstitched handkerchiefs and work each one differently, with 
monogram or initial. Handkerchiefs intended as gifts to gentlemen can 
be worked elaborately or not, as desired. For instance, if the gentleman 
is addicted to lawn tennis, a ball and a pair of rackets worked in outline 
stitch will prove acceptable, while for something" extra nice," no decoration 
can surpass a handsome monogram worked in satin stitch. 

Embroidered Dresses. 

Given ten yards of fine cashmere (either colored or black) and a bunch 
of Royal or filo floss, the artistic embroideress will turn out a Parisian 
robe "that will turn all womankind green with envy and admiration." We 
remember, not long ago, the hig^h-priced emporiums were importing Pari- 
sian embroidered robes for the modest price of ^50, $'j^ and $100 each. 
An ingenious friend of the writer soon came out with an exact dupli- 
cate of one of the costly affairs, and as her income was known to be more 
than slender, it was a matter of wonder until she explained that the dress 
cost her $10, and proudly added, "I did it myself." 

Many of the Roman embroidery designs can be adapted for dress 

trimmings, notably those having the bot- 
v4rx;;^^^^^^Cc;::>^'^^Sx^ tom edge vandyked. The embroidery 

EDGE FOR COLLAR AND CUFFS. should be douc with a silk thread, either 
PIG. 104. one shade lighter or darker than the foun- 

dation. Thus a dark brown cashmere or cloth may be worked with a 
golden brown or a wood brown, as nearest matches the cashmere, but 
not with the exact shade, as the contrast would not be sufficient to 
bring out the beauty of the work. In adapting a Roman design for a 
dress skirt the pattern should be at least 12 to 18 inches deep, and on the 
vest front, collar and cuffs a modification of the same pattern should be 
carried out. In working, follow all the outline of design with a small cord, 
fastening it down if there is any difficulty in holding it in position; then 
with Royal floss, one strand, work over this cord in heavy satin stitch, being 
sure to place the stitches close and even. Do not take the stitch beyond the 
edge of the cord on either side. This method will slightly raise the prom- 
inent portions of the design. The lace or connecting lines should be 
worked in outline stitch on the material, from one outline to the opposite out- 



ART OR FLAT EMBROIDERY. 



Ill 



f:dge for dressing 

JACKET. Fig 105. 




line of the design, and with the same silk. If the design is one showing many 
plain spaces the effect can be enhanced by filling them with Janina, rosette, 
point de reprise or honey-comb stitch. The effect of this method of treat- 
ing designs is extremely rich, and 
requires no more than mechanical 
skill, as the work is not shaded but 
done with one color throughout. Of 
course the beauty of the work will 
depend upon the exactness with which the stitches are 

1^ I- ^ CORNER FOR 

taken and the general smoothness of the work. In using dressing jacket 
floral designs for street dresses it is not good taste to do the ^^^' ^°^' 
work in natural colors; thus if a deep navy blue dress is to be embroi- 
dered with a band of buttercups across the bottom and scattered flowers 
across the front, the colors for working them should be either a shade of 
navy blue or a golden brown. In this case a little shading would be admis- 
sible, say about three to four shades of the line of golden brown filo floss 
for the entire design. The stitch used for this style of pattern may well bs 
the solid Kensington. For neglige jackets, to be 
worn during the morning hours over a dark skirt, 
nothing could be more dressy or serviceable than a 
black cashmere or satin jacket, cut after a pretty 
model and embroidered down the front edges, 
around the bottom and across the collar and cuffs 
with a graceful arrangement of dainty wheat and 
poppies, or roses, worked out in natural shades with 
Kensington stitch in filo floss. Again, it may be 
desired to renovate the bodice of a plain cashmere 
dress without much expense. A nicely fitting col- 
lar, with the edges finished with a tiny scallop, em- 
broidered with buttonhole stitch in the same shade 
of silk as the dress material and the edge of cuffs and design for parasol. 
the bottom of bodice treated in the same manner ^^^' '°^" 

will give an appearance of quiet elegance that could not be obtained from 
other trimming at five times the cost. Fans, parasols, bonnet crowns, all 
offer excellent opportunities for the needlewoman's skill. A plain black 




112 



DAINTY WORK FOR PLEASURE AND PROFIT. 



silk parasol, of a good quality, with a graceful spray of flowers embroidered 
upon one section, in colored silks, will make a very dressy promenade 
article, while fan covers of silk can be made, using a fan one already has in 

possession as a pattern. Cut the silk a 
trifle larger than the fan it is to cover, to 
allow for making. The embroidery should 
be of a light and delicate character; 
heavy or massive effects will be entirely 
out of place for this purpose. 

Double and triple crepe lisse frills for 
neck and sleeve trimmings, having the 
edge worked in scalloped buttonhole 
stitch and scattered seed or spot stitches above 
the scallops, sell in the large stores for $2.50 
to S3. 50 per yard. These frills can be made at 
home for one-quarter of the store price. Fig- 
ures 108 and 109 show a suitable scallop for this 
purpose. Filo floss, a shade lighter than the crepe, is generally used. 




CltRNER FOR CREPE USSE RUFFLES. 
FIG. 108. 




SCALLOP FOR CREPE LISSE 
RUFFLES. FIG. lOQ. 



Embroidery for the Children's Wardrobe. 

The children must not be forgotten, and many are the dainty garments 
that can be made for the little ones by loving fingers. Infants' jackets, 
dressing gowns, robes, cloaks, bonnets, shawls and skirts may all be ren- 
dered elegant by much or little handwork, as the judgment of the w^orker 
decides. Embro'dery for infant's clothing is almost always done with satin 
stitch combined with spot and seed stitch, and buttonhole stitch for finish- 
ing the edges. 

P2mbroidered flannel skirtings can now be purchased so cheap that it 

hardly pays to spend the time to embroider 
them at home, but cheap as they are they still 
are beyond the reach of the woman who can 
barely eke out enough to purchase the plain 
flannel. A few cents' worth of white embroi- 
dery silk, a knowledge of embroidery and time enough for the work 
will enable such a woman to prepare for her darling many a dainty gar- 




SCALLOP FOR FLANNEL. 
FIG. 1 10. 




ca.CHicA:,n 



ART OR FLAT EMBROIDERY. 



113 



ment otherwise impossible. In such cases it is better to select a simple 
pattern and do the work well than to hurry over a large and elaborate pat- 
tern. Figure no shows a pretty design for edging flannel garments. 

Strips of white flannel, of different widths, from one inch to two inches, 
stamped with a small scallop pattern and a design of small circles suitable 
for spot stitch will be found convenient pick-up work. The embroidery 
may be done with white, blue or pink embroidery silk. These strips may 
be used to finish the necks, sleeves, front edges of jackets, dresses, skirts 
and dressing gowns for the little ones we love so well to deck with our 
best. Many a mother's work basket is never without a little roll of flannel 
strips, either embroidered or in 
process of completion. One 
dozen skeins of Royal floss will 
embroider five yards of these 
strips. Another pretty decora- 
tion for flannel or cashmere 
dresses, jackets, etc., consists of 
working over the surface of 
material with spot stitch or 
French knots, using either white 
or colored silks for the purpose. 

Specific designs for certain 
purposes it is impossible to 
give in the pages of a work of 
this kind. The best that can 
be done is to give occasionally an illustration that will be suitable for cer- 
tain purposes. It is an excellent plan to have in one's possession a variety 
of perforated patterns, suitable for various purposes; two or three sizes 
of scallops, several floral arrangements, etc., should be included, and as 
these designs are inexpensive, nearly all ladies who embroider can pur- 
chase a good assortment. Again, magazines and periodicals often contain 
excellent designs, and these can be transferred, according to instructions 
given in Chapter IV. The different scallop designs shown in this chapter 
are suitable for many other purposes beside those designated. 




DESIGN FOR INFANTS SHAWL IN SATIN STITCH. 
FIG. Ill, 



114 DAINTY WORK FOR PLEASURE AND PROFIT. 







'qL^^^^^^^^_\ 




DRAPERIES FOR PICTURES, EASELS AND MANTELS. 



CHAPTER IX. 




CHURCH AND BULLION EMBROIDERIES. 



HE EMBROIDERIES for ecclesiastical purposes 
form a branch of decorative needlework quite 
distinct from that applied to articles of dress 
and household ornamentation. In the former 
no shading is required and the work is more set 
in its character, allowing less scope for individ- 
uality. The stitches employed are couching 
stitches of every variety, both raised and flat, 
long stitch, bullion knot and satin stitch. The 
material employed for church embroideries must 
be of the very best, and the workmanship must show no amateur touches; 
in fact, we may as well say here, in this connection, that church embroider}' 
requires the most skilled workmanship, and should never be attempted by 
the amateur embroideress. The stitches required for this style of work 
depend entirely for their effect upon the exactness with which they are 
placed, and this exactness can be attained only by diligent practice. There 
is room for ornamental needlework in the houses of worship of all Chris- 
tian denominations. Aside from altar frontals and altar curtains there are 
smaller articles that can be made by ladies, either privately or in the sew- 
ing societies usually connected with church work. Among the latter may 
be mentioned book marks, sermon cases, burses, alms bag, mats for collec- 
tion plates and flower stands, and banners for the Sunday-school, especially 
fo-- Easter services. 

There has been very little written on the subject of church embroi- 
deries that can be considered authoritative, and the author of "Dainty 
Work" has been at considerable trouble to prepare something that should 



li6 



DAINTY WORK FOR PLEASURE AND PROFIT. 



be practical, correct and within the comprehension of the average embroi- 
deress, and she wishes here to acknowledge the assistance received from 
Caulfield and Seward, London, England, who in 1881 published the only 
practical article on ecclesiastical embroideries to be found in the English 
language. 




CROSS FOR ALTAR FRONT. FIG. 112. 

We will give here a list of the materials used in ecclesiastical embroi- 
deries, premising that each article must be the best to be obtained: Gold 
thread, passing (this is a thread of gold and silk, mixed), filo floss, purse 
silk, knitting silk, sewing silk, silver thread, colored art cords, spangles and 
bullion. Of these materials floss is the most used, as it can be split and 



CHURCH AND BULLION EMBROIDERIES. 117 

subdivided to the smallest strand, and is used for working over the main 
part of design in long stitch. Purse silk is used for the parts requiring 
strength, and frequently for couchings; knitting silk, gold and silver thread 
and passing for ornamental sprays; spangles and bullion for ornamenting 
the raised parts of the design; gold and silver cord for finishing design. 
The foundation for these embroideries should be the best velvet, plush, rep 
silk or broadcloth. 

For doing the embroidery there will be required frames of several sizes, 
square frames are best for church embroideries; strong, unbleached linen, 
that has been boiled to take out the stiffness, upon which the design is 
worked, after which it is cut out and applied to the foundation; piercer, 
an instrument invaluable in placing the floss and gold threads in posi- 
tion; stiletto, for puncturing holes; round-eyed needles of different sizes, 
and carpet needles Nos. 2, 9 and 10. 

The hands of the embroideress must be kept smooth, and for this pur- 
pose a piece of pumice stone should be kept in the work basket. Ladies 
whose hands are continually moist should not attempt church embroideries, 
as the moisture ruins the gold and silver threads. 

STITCHES USED IN ECCLESIASTICAL EMBROIDERIES. 

In ecclesiastical or church embroideries the following stitches are used: 
Couching, raised and flat, and of every variety of pattern; long stitch, satin 
stitch, French knots, bullion knot, spot stitch, chain and outline stitches. 
Satin stitch, spot stitch, chain stitch, outline stitch, French knots and flat 
couching stitch have been described in detail in Chapter V; but in this con- 
nection it seems advisable to give the different varieties of couchings in 
greater detail, as they form the distinctive features of all church needlework. 

Couching- stitches are divided into two classes, namely, raised 
couching and flat couching; in each class there are several varieties. Flat 
couchings are formed of threads laid smoothly upon a foundation, and 
caught to it with small stitches, brought up from the back of the work and 
then returned to the back again. Raised couchings are formed by laying 
the same kind of threads upon the foundation, but over whipcord that has 
been previously arranged upon it in a set design. The raised lines are 
secured in the same manner as employed in flat couching. The names given 
to the different varieties of couchings are taken from the direction of the 



ii8 



DAINTY WORK FOR PLEASURE AND PROFIT. 



securing stitches, and are Basket, Battlementcd, Brick, Broad, Jjiagonal, 
Diamond, Diaper, Plain, Shell, Spider, Vandyke, Wheel, Wavy. The man- 
ner of working them differs only in the patterns formed by the securing 
stitches and in the direction of the whipcord in the raised designs. 

The manner of working flat couching has been described, in Chapter V, 
therefore we will consider raised couching more particularly in this connec- 
tion. To work raised couchings, sew to the linen foundation a number of 
strands of whipcord, in straight or waved lines, or they may be formed into 
a set pattern; over these lines of whipcord lay gold thread or several 




DKSIGN FOR GOLD AND SILVER THREAD. FIG. II3. 

strands of filo floss. Secure this with a stitch brought from the back of 
the w(irk and returned there, on each side of the raised part formed by the 
whipcord that is underneath the gold thread or filo floss; work a continuous 
line of securing or couching stitches on each side of each strand of the 
whipcord, so as to distinctly outline it. In the intervals between these 
raised parts work couching stitches, up and down, as in flat couchings, 
forming them into any pattern desired, without reference to the raised 
designs. When couching in various designs, hold the laid threads in one 
fiand, and regulate them with that hand or with the piercer, and bring up 
the couchine^ stitches with the other hand, and do not change the hands 



CHURCH AND BULLION EMBROIDERIES. 



119 




until the work is finished. Outline the couched design with a cord or cords 
of silk or gold. 

The raised couchings are more frequently used for backgrounds, while 
the flat variety is better adapted for the centers of the various devises used 
as powderings or scattered all-over designs over a large surface on the 
centers of altar frontals and on embroidered vestments. 

Basket Raised Couching. — Figure 114 shows raised basket 
couching. To work: Lay upon the foundation perpendicular lines of whip- 
cord and sew them firmly into position. Take 
four threads of purse silk, or four strands of 
filo floss, or the same number of gold threads, 
and stitch them down with purse silk of the 
same color, brought through from the back of 
the material and returned to it. Place the secur- 
ing or couching stitches between every second 
strand of the whipcord; form the next line with 
four threads laid over the cords and stitche ^^^- "4- 

down as before. To prevent the lines of securing stitches coming directly 
beneath each other, the first line of stitches must secure the floss or gold 
thread over one cord only, the rest over two cords. Repeat these two lines 
until the desired space is filled in. 

Figure 115 shows another variety of raised basket 
couching, which is worked as follows: Sew down the 
whipcord, and over it the floss or gold thread, as described 
in the preceding figure, but over these again, lay short 
lines of fine gold thread or purse silk. Bring these short 
lines from the back, by puncturing a hole through the 
foundation with the stilletto for them to pass through; 
return them in the same manner. 

Spider Couching. — A raise couching. To work: Upon a linen 
foundation fasten down short pieces of whipcord, cut of equal length and 
arranged like the spokes of a wheel or the chief threads of a spider's web. 
Fill in the whole of the foundation to be treated in this manner with the 
whipcord so arranged, placing the wheels they form as near together as 
possible. Place lines of filo floss over the whipcord, beginning at the cen- 




wW^ 



FIG. 115. 



120 



DAINTY WORK FOR PLEASURE AND PROFIT. 




ter of the wheel, and couch it down. When the floss has been couched 
once around, repeat row after row until the outer ends of the whipcord 
spokes have been reached. Place the couching stitches in lines on each 
side of the lines of cord, so that the shape of each wheel or web may be 
clearly defined. 

Vandyked Couching. — A raisea couching formed with lines of 
whipcord laid on the linen foundation in the shape of Vandykes. Over the 
lines of whipcord lay filo floss, secured with couching stitches taken in 
such a manner as to outline each piece of whipcord. 

Wavy Couching". — Figure Ii6 shows raised wavy couching. To 
work: Arrange upon a linen foundation curved lines of whipcord; place 
over them purse silk, two strands at a time, and secure as shown in broad 

couching, omitting the stitches when- 
ever the raised part formed by the cord 
underneath is approached. When the 
broad couching is finished, lay a thread 

of gold or silk cord on each side of the 

f^JG. ii6. waved line and couch it down with a 

fine sewing silk; or, work the lines on each side of the raised part with a 
continuous line of couching stitches. 

Battlemented Couching. — Figure 117 shows 
a flat couching, with the securing threads arranged as 
battlemented lines. To work: Lay the filo floss in diag- 
onal lines across the foundation, then work the securing 
stitches so as to form the design shown in the illustra- 
tion. The above pattern is effective as a background for 
large spaces, or for filling in unbroken surfaces of a set fig. 117. 

design. It can be varied by placing the securing stitches at different 
distances. 

Brictc Flat Couching. — Figures 118 and 119 show two methods of 

working brick flat couching. To work the design 
shown in figure 118, lay down lines of filo floss 
in a diagonal direction, and secure them with 
FIG. 118. stitches from the back. Pass each stitch over 

two lines of floss, and work it in at an even distance from the stitch pre- 





CHURCH AND BULLION EMBROIDERIES. 



121 



^k^^^^b^iariktMQ^»?jaQBga 


^^i^;^ rS!^^Sa«s»SHfeS 












-^/fiYpS^&Mkl^Jw 


^^^^^^ 


?^^%fe^i%KB^^ 


^:':«%6^»;^*^i!^^^si!i^=?ssis?»ae 




>:*:7^^tpee&J^^i?^%f |J^^ 


\at^^teS^>fe^^gV.^^!j^fc3a 




ceding it, to the end of the pattern. Work the next line of securing stitches 
over two laid lines of the floss, but be careful not to have the securing 
stitches fall directly under those in the preceding row, but place them so 
that they will come in the spaces between. These securing stitches are not 
taken over the entire laid surface, but are arranged to form Vandykes. Fig- 
ure 1 19 shows the sam e stitch differently worked, 
as follows: Lay down two threads of purse silk, 
catch them down with a stitch from the back, 
also of purse silk, and placed at regular dis- 
tances apart along the line; work the second fig. 119. 
line like the first, but place the securing stitches in it so that they will fall 
between those taken in the previous row. 

Broad Couching. — Figure 120 shows an- 
other variety of couching. It is worked like the 
brick flat couching previously described, but the 
securing stitches slightly draw the foundation 
FIG. 120. floss together as they stitch it down. This gives 

to the work an entirely different effect. 

Diamond Couching. — Figure 121 shows a flat diamond couch- 
ing, worked as follows: Lay down lines of filo floss to 
cover the desired surface, and above them lay lines of 
purse silk or gold thread, singly, but in a diagonal direc- 
tion, and at equal distances apart. Secure each single 
line with a securing stitch brought from the back. Lay 
all the lines in one direction first, and secure them; after 
which lay the lines that cross them; wherever the lines 
meet and form one of the points of a diamond, work in 
a pearl or spangle at the point of junction. fig. 121. 

Diaper Couching. — This is the same as plain couching, but the 
securing .stitches are worked so as to form zigzag lines, diamonds and 
crosses. 

Plain Flat Couching.— Figure 122 shows flat couching, which 
has also been described in Chapter V. Lay down filo floss evenly over the 
foundation, and secure with couching stitches brought from the back. Take 
the securing or couching stitches over two threads of the floss and return 




122 



DAINTY WORK FOR PLEASURE AND PROFIT. 





to the back again. Arrange the couching stitches so as to form straight or 
curved lines or diamonds across the space covered. See page 38, figure 28. 
In figure 122 the couched lines are not placed close 
together, but allow the material upon which they are 
laid to show between them; when so arranged they 
must be placed directly upon the foundation and 
FIG. 122. not upon the linen which is after- 

ward appliqued upon the silk or velvet foundation. 
Figure 123 shows still another variety of plain couch- 
ing. To work: Lay down perpendicular lines of filo 
floss, arranged close together, then, wide apart and hori- 
zontal, place single lines of purse silk or goldthread, fig. 123. 
and secure them at equal distances by a couching stitch. Wherever a 
couching stitch is taken work in a spangle or bead. 

Shell Couching" is a flat couching in which the securing stitches 
are arranged in half curves, and bear some resemblance to the shape of a 
scallop shell. 

The preceding comprise all the important varieties of couching, though 
the possibilities of new patterns and combinations are almost numberless, 
and the earnest worker will not be satisfied with being a mere copyist, but 
will never willingly stop short of the creative point. The illustrations 
given will form a good basis for further developments. 

Long Stitch is a name given to satin stitch when worked across 
the design without any under padding. 

Bullion Knot. — This stitch is used in church embroideries, and 
forms a raised roll laid along the surface of the material. To work: Secure 
•5 the thread at the back of the work and bring it through to 
I the front. Put the needle into the material and bring it 
ij out so that the point is close to the thread, and take up 
" from one-quarter to one-half inch of material on the needle, 
according to the length desired for the knot. Wind the 
I thread around the point of the needle from ten to twelve 
times — see figure 124 — hold the needle down with the left 
thumb and wind with the right hand. .Still holding the 
needle down, pull it through the material; pull up the thread to where 




FIG. 124. 



CHURCH AND BULLION EMBROIDERIES. 



123 



the needle was inserted, and allow the knot to lie evenly along the sur- 
face; put the thread through to the back at this place, and repeat for a 
second bullion knot. In the illustration two bullion knots are arranged 
as an oval, but they can be laid down upon the material as single knots, or 
in any other device. 

Chain Stitch. — This stitch was an important factor in ecclesiastical 
embroidery of the fourteenth century, and is again coming into use for this 
class of work. To make: Bring the needle from back of the material up 
in the line to be embroidered; put the needle down close to the place at 
which it came out, but on the right side; repeat; hold the thread down with 
the left thumb, and bring the needle out upon the line but one-eighth of an 
inch below where it was inserted, and i^z'^r the thread held down; repeat 
until the pattern is finished. 

Outline Stitch. — See Chapter V. 

In ecclesiastical embroideries the designs, if small, should be clearly 
stamped on the unbleached linen previously spoken of, after which the 
linen must be stretched firmly in a square frame large enough to take the 
entire design; or, if the pattern is too large to be 
easily managed in this way, the design maybe stamped 
on the linen in sections, worked, and then cut out and 
applied to the foundation, piece by piece. In either 
case the entire design should be stamped on the real 
foundation as well as upon the linen, in order that the 
worker may the better see where and how to apply 
the cut-out design. After the design has been 
worked on the linen and then cut out and applied to 
the foundation, the edges should be finished with 
one or two cords couched around the outlines. We here show working 
details of a design intended for ecclesiastical purposes. See figure 125. 

"In all church designs commence the work with raised couchings or 
with the laying down of gold threads. These lines of gold thread are 
usually worked so as to follow the wave of the part they are ornamenting. 
Thus, the fiower shown in figure 125 would be entirely wrought with lines 
of gold or silver threads, placed as the shading of the pattern indicates. 
Figure 125 is much reduced from the natural size; an ornament so small as 




FIG. 125. 



124 DAINTY WORK FOR PLEASURE AND PROFIT. 

it ii, represented rarely has threads laid down. Wavy lines of gold are 
more used than straight ones, and these are shown in the working detail in 
figure 126 and are managed thus: Through a hole made in the foundation 
linen bring to the front of the work from the back two pieces of gold twist 
of equal size and thickness, and make a bend or curve in them by curling 
them once around the stilletto after which lay them on the foundation with 
the curve still in them, and catch them down with the holding thread 
thrown across both at once. Lay the gold twist so curved between each 

securing stitch [see figure 
126] on the space it is to 
cover, in an upright direc- 
tion, then turn and bring it 
down, turn again and bring 
it up; and so on until the 
space is filled. These lines 
need not be laid close to- 
gether, but with a space 
between them equal to one 
line in width, and this space 
may be filled in with a line 
laid afterward, the gold twist 
lying flatter on the surface 
when so arranged than when 
laid down in consecutive 
FIG. 126. lines. Turn the twist wher- 

ever possible; but in many places this cannot be done and it must be cut 
and fastened at the back and again commenced. Wlien angles and curves 
are being laid, it is a task of dexterity and patience to lay the lines and 
turn them so as to fill the spaces with the fewest breaks. The fastening 
threads should be bright-colored purse twist. 

In figure 126 these fastening threads are shown worked in two ways. 
In the space marked c they are arranged so as to form open diamonds, 
while in the long narrow space marked d every other fastening thread 
forms part of a straight line arranged across the work. An illustration of 
the two ways of using filo floss is also given in this working detail. In a it 




CHURCH AND BULLION EMBROIDERIES. 125 

is laid in flat lines across the surface of the foundation and caught down 
with lines of purse twist of a contrasting color to the floss and laid in a con- 
trary direction. These are fastened above the floss silk by catching stitches 
of silk brought from the back of the work and returned there. The lines of 
purse silk are laid over the floss silk at nearly equal distances from each 
other, and are intended to imitate the veinings of a leaf, the threads that 
catch them down being of a silk matching them in color or of a contrast- 
ing shade. The space marked b shows the mode of working the floss silk 
when it is passed through the foundation and not laid upon the surface. It 
is a long stitch, but worked so that each stitch is placed in a slanting direc- 
tion, and does not follow the preceding one with the regularity of a straight 
line. The long stitch is more fully illustrated 
in figure 127, where it is shown considerably 
enlarged. The small space is filled with 
black silk lines, which are secured by three 
lines, two of gold thread and one of silk. 
The border to the detail is formed of two lines 
of thick silk cord of harmonizing colors, both 
caught down with the same stitch. The sin- fig. 127. 

gle cord that surrounds the piece of work between e and b x's, 2, silk cord 
around which a fine gold thread has been twisted, and which is couched 
down with a silk thread. This working detail will be an extremely useful 
piece for a beginner to try her hand upon, as it combines several of the 
stitches that are used in ecclesiastical embroidery." 

Another design that is also simple is shown in figure 130 on page 128. 
This design is much reduced from the working size and is suitable for the 
ends of scarf for flower stand. The main portions of the pattern are laid 
-in with floss couched in various patterns, as brick, flat, diamond and basket. 
The stems are laid in with gold thread couched down with red purse silk; 
all the design except the five branches at the top, are first worked upon a 
linen foundation, which is then cut out and applied to the article to be 
decorated. The outer edge of the pattern is then finished with two cords — 
a gold cord and a cord of black silk couched close to it. The five branch- 
ing fibers are worked with gold thread and spangles upon the material 
To secure this design enlarge with a pantagraph four or five times accord- 




126 



DAINTY WORK FOR PLEASURE AND PROFIT. 



ft 

m 






H 



o 



ing to the position it is to occupy, or it can be used in connection with 
some other design, as powderings over a surface, in which case it may be 
worked on a smaller scale than where it is used alone as a set design. 

Figure 128 shows a reduced design 
for border and powderings, suitable for 
altar frontals or altar curtains. Work 
the large fleur-de-lis in long stitch with 
three distinct shades of green floss, and 
edge with blue purse silk. Fill the 
band in the center of the fleur-de-lis 
with crimson floss laid in perpendicular 
lines secured with gold thread; edge 
with black knitting silk. The various 
tendrils or sprays springing from the 
powderings are made of gold thread 
laid in lines and caught down with crim- 
son purse silk. These lines of gold 
thread should have a line of floss laid 
close to them, and following their out- 
lines; this is not shown in the illustra- 
tion, but it should always be used when 
FIG. 128. gold thread is laid as an unornamented 

spray. Work the small half fleur-de-lis figures in long stitch with floss. 
Their colorings are alternately crimson and green; the crimson shading to 
pink, the green from dark to light. Surround them with black knitting silk, 
and with branching fibers of gold thread and floss. The small circles are 
formed of spangles, four to each circle, caught down with green or red purse 
silk. Work the border upon a band of rep silk of a darker color than iS 
used for the body of the curtain or frontal. The wheels or stars on the bor- 
der should be worked with gold thread or yellow purse silk, caught down 
with black silk. The leaves are worked with shades of blue in long stitch, 
and the stems and tendrils are formed of gold cord. Add small spangles 
where shown in the design. 

The three shades of blue, green and rose color used sliould be perfectly 
distinct from each other, and not selected as in ordinary embroidery, so 



m 




CHURCH AND BULLION EMBROIDERIES. 



127 



that one shade blends imperceptibly into the other; for although harmon- 
izing, each shade must be distinct from the one above and below it. 

Figure 129 is another valuable working detail. It should be carried 
out as follows: Lay gold cord or thread in ^:=iJ\i!»s;fliA^^ 

waved lines, as at A a A a, and catch these down 
with even rows of purse silk. Lay down the 
head of the seed pod with gold thread, as at a, 
but the lines must here be straight. Fill the 
stalk, B B B, with green floss of three distinct 
shades; work in long stitch. The leaves are 
of the same, except the veins, e e, which are 
of yellow floss; d d, representing the soft hairs 
on the stalk is done with green floss; the cen- 
ter of seed pod, k, work with two shades of 
pinky red floss, in upright lines and surround 
with a silk cord; H h, work with silver thread 
twisted around it and caught down with pale 
blue silk; in the inside of the cord place a nar- 
row black cord, and catch it down with black 
thread. The two succeeding oval cords laid upon the gold cord are of yel- 
low silk, one thick, l, and one small, m, but both cords have a silver twist 
around them. The outside cord, g, is also yellow, but thicker than eithei 
of the others. It is caught down with black. 

The center cross for altar frontal shown in figure 112, on page 116, is 
more elaborate than any design we have given, and requires excellent 
workmanship. This design differs from those shown in figures 125, 128 and 
129 in that some of the parts forming it are w^orked directly on to the silk 
foundation, while other parts are appliqued on to velvet of a different color 
than either the foundation or the colors used in other parts of the design. 
The stitches on the cross should be worked upon white silk, the circle upon 
which the cross rests should be of deep crimson silk, upon which the flori- 
ated ornaments are to be appliqued. Work the boss forming the center of 
the cross, and containfng the center jewel, on to a linen foundation and 
applique it on to deep blue velvet, which in turn must be placed on the 
white silk foundation. 




FIG. 129. 



128 



DAINTY WORK FOR PLEASURE AND PROFIT. 



The cross is shown as it would be in the embroidery frame; when re- 
moved and applied to the curtain or frontal, rays of gold thread or yellow 
silk surround its outside circle, and branching fibers proceed from the four 
limbs, with spangles carried up each side of them. The five bosses are 

made of jewels. Surround each 
jewel with gold thread and with 
rays of green floss, shading to 
light green. Form the body of 
the cross, as previously stated, 
with white silk. Ornament the 
cross with couchings of gold 
thread, laid in diamond pattern 
and caught down with spangles 
and red sewing silk; also some 
portions of the cross may be or- 
namented with straight lines of 
floss. Arrange the outside lines 
in brick couciiing with yellow silk 
or gold thread. 

The ends of the cross that 
appear beyond the circle cover 
only partially with embroidery; 
the foundation of blue velvet, the 
same color as that used around 
the center boss, leave visible. The 
crowns finishing the ends make of 
FIG. 130. gold thread laid upon the velvet, 

as also the thick line from which they proceed. Work the leaves in crimson 
silk, shading to pink. The floriated ornaments that proceed from the cross 
are first worked upon a linen foundation and then appliqued upon the 
crimson silk circle enclosing the arms of the cross. The outside leaves of 
these ornaments are embroidered in long stitch with three shades of green 
floss. Fill in the lower part of the space they enclose with crimson silk 
worked in long stitch, and ornament with knots or spot stitch formed of 
gold-colored purse silk. Above this lay lines of gold thread, and catch 




CHURCH AND BULLION EMBROIDERIES. 129 

them down with crimson silk. The points which finish the ornament should 
be finished with pale blue silk in long stitch. Carry pale blue cords around 
the edges of the ornament to cover the stitches connecting them to the silk 
foundation. The scrolls that fill in the rounds form of lines of gold thread 
caught down with blue silk, and terminate with spangles. 

The designs so far given illustrate the various ways of using filo floss 
in flat church embroidery. Thus, it is either laid down in even lines of one 
shade of color, and kept in position with gold or silk cord placed in devices 
over it, or it is worked in long stitch with three shades of color. These 
shades are distinct from each other, and are worked with the lightest shade 
uppermost; they never blend together, but they match in tint. If contrasts 
are used, such as pink and blue upon the same leaf, they are divided either 
by a line of black knitting silk or gold thread. In ecclesiastical embroi- 
dery no regard is paid to copying any design in its natural colors; the de- 
signs are never intended as realistic, but as conventional ornaments, and 
blue, lilac, crimson and yellow are used about leaves and other floral orna- 
ments as well as green; though in examining specimens of old work it will 
be seen that green and gold are more used about the powderings and bor- 
derings than brighter hues, which are found in all their glory in the picture 
centers. The faces of figures are worked in satin stitch with one or two 
shades of flesh colors. The shade and contour of the features are managed 
by the direction giv^en to the stitches, which follow the lines that would 
indicate them in an engraving. Chain stitch will undoubtedly soon be 
employed again for working faces in the modern as it was in the ancient 
work. 

One of the richest and most popular stitches for couching background 
is the spider wheel, described in "Stitches for Ecclesiastical Embroideries." 
The wheels are usually made about an inch in size, and when the whipcord 
which forms the raised spokes of the wheel is covered with fine gold thread, 
couched down on each side of each line of cord, in such a manner as to 
outline each spoke of the wheel, the effect is indeed rich and beautiful. 

Upon rich fabrics open couchings are frequently laid for borders. These 
are made of diagonal lines of gold caught down with crosses of colored 
silk, and the center of the diamond spaces are filled in with spangles, beads 
or French knots. 




130 DAINTY WORK FOR PLEASURE AND PROFIT. 

CHURCH WORK ON CARDBOARD FOUNDATION. 

Cardboard foundations forming this variety of work are used for sacred 
monograms and emblems, and are invaluable when clear, distinct and raised 
work is desired. This work is employed in church furnishings only for 

such minor details as the emblems on stoles, bur- 
ses, alms bags, mats, book-markers and sermon 
cases, it being considered too severe in outline and 
too mechanical of execution for altar frontals and 
the vestments of the church. Being worked with 
silk of one shade of color throughout, and over 
rigid outlines, it requires no artistic taste in the 
execution, but it must be arranged with precision 
or it will entirely fail in effect. The designs 
selected should be simple, clear in outline and 
^^^•^31- correct as to ecclesiastical form. The usual de- 

signs are the Latin cross, the initials of our Savior, triangles, circles and 
other unfloriated devices. Some of these are shown in figures 131, 132, 
133, 134, in their plain cardboard foundations. Figure 131, the triangle, 
is an emblem of of the Trinity, as is also figure 132, the circle. Figure 133, 
the Latin cross combined with anchor and circle, is an emblem of atone- 
ment and patience, and figure 134, the Greek cross surrounded by triangle 
and trefoil combined, is a symbol of the 
Godhead. The manner of working is as 
follows: 

Select the design and trace it upon 
thin Bristol board. Color the design yel- 
low and cut it out carefully, leaving little 
supports, that are called stays, to any part 
of the letter or emblem that is too fine to 
support itself before it is caught down in 
its position. The stays in the designs fig. 132. 

given would be required only to keep the extremities of the Greek cross, 
figure 134, in position. A piece of gray hoUand, sold expressly for this 
purpose, is then tightly framed, and the material to be embroidered secured 
to it. If velvet or a large piece of plush, paste it down, if silk sew on with 




CHURCH AND BULLION EMBROIDERIES. 



131 




great care, and sew round the center when the emblem is arranged. Put 
the design cut from the cardboard into position and carefully tack it to 
the foundation, and as soon as every part is secured cut away any stays that 
have been left. The embroidery is now commenced, and is done either 
with yellow purse silk or with gold twist of short 
lengths. The manner of working is shown in figure 
136. Bring the needle up from the back of the frame 
on the left hand side, and pass the thread over the 
cardboard, the point of the piercer being used to lay it 
flat; insert the needle on the right side in a line par- 
allel to the point where it came up. This operation 
requires great nicety. The thread or silk must be 
kept evenly twisted, and each line laid down with 
great regularity, as the entire work will be ruined 
with one irregular stitch. When the cardboard is \v^^^ >^ 

covered, outline the design with a couched line of fig. 133. 

blue or red cord or gold thread, as shown in figure 135. This couched line 
will take away any unevenness of outline that may have been made in the 
working. The material is then cut away from the frame and the holland 
from round the edge of the embroidery at the back. Figure 136 is an illus- 
tration of a single letter worked in this manner. The exact shape and size 

is first cut out in cardboard and laid on the 
foundation and carefully sewed to it, the arm 
of the "r" requiring very delicate adjustment. 
Lay a line of carpet thread down the center of 
the letter and fasten it, and cover all the card- 
board over with lines of gold thread or yellow 
purse silk. Figure 135 shows the manner of 
working interlaced letters and adding the 
couched line around them. Interlaced letters 
FIG. 134. are cut in one piece and no stays are required. 

They are fastened to the foundation and covered as described with the 
gold thread. No shading is necessary in this style of work, though a vari- 
ation in coloring devices is permissible. Thus, in figure 137, "I. H. C." 
placed upon a cross, which can be used for a sermon case, book-mark or 




132 



DAINTY WORK FOR PLEASURE AND PROFIT. 




alms bag, is worked as follows: The cross is worked in gold puise silk or 
gold thread, and couched round with a line of black silk. The letters 
"I. H. C." are worked in crimson silk and couched round with pale blue 
silk. The entire design should be placed upon a background of green or 

blue velvet. The "I. H. S." of figure 139 is 

^ arranged for a banner. The I should be in 

\ gold silk, the S in blue and the H in red. All 

] the letters should be outlined with a couch- 

^ ing of black silk. The letters are to be 

placed upon a white silk banner. The wreath 

^ should be worked in satin stitch, flat, without 

3 under padding. 

3 These small pieces of church embroi- 

deries will be very welcome, as ladies can 
easily do them at home. For book-marks a 
FIG. 135. thick corded ribbon should be used, one and 

one-quarter yards long and from one to three inches wide. The ribbon to 
be embroidered should be tacked to the framed holland, and the design put 
on at its lowest part six inches from the end, so as to allow five inches or 
more for turning up at the back to hide the lining. Both ends should be 
embroidered, one design on the right and one on the wrong side of the rib- 
bon, otherwise the work will not fall right when the marker is folded for 
use. The marker should be finished with heavy gold fringe. 
Alms bags are made in two shapes, one, a regular bag, hung 
upon a ring or hoop of brass, and made of a straight piece of 
velvet eleven inches wide and nine deep, joined, gathered and 
sewn into a circular velvet bottom, stiffened with cardboard; 
the other, the ordinary hand bag, nine inches in length, six in 
width, with a front lap six inches long, upon which the motto 
or emblem is embroidered. The bag is lined with white silk, 
but any part that shows is covered with colored velvet sur- fio. 136. 
rounded with an ornamental cord of gold and silk. The upper part of the 
alms bag is either curved or pointed. Alms mats are made to fit the plate, 
and the monogram ornamenting them worked so as to be contained in a 
square. The ornament upon a stole consists of Greek crosses worked with 




CHURCH AND BULLION EMBROIDERIES. 



133 




gold silk. Sermon cases are made of velvet and lined with silk, and should 
be covered over a cardboard foundation. The burse is used to keep the 
corporal and smaller eucharistic linen in, and is a pocket made of silk over 
a cardboard foundation and ornamented 
with needlework, and in shape is a square 
of from ten to eleven inches. The colors of 
these ornaments vary with those used upon 
the altar, which are as follows: 

White for festivals of our Lord, the 
Virgin, Saints, and for Easter; red for Mar- 
tyrs, Ash Wednesday and last three days 
of Holy Week and Whitsuntide; blue for 
week days after Trinity, and indifferently- 
used with green on ordinary Sundays; yel 
\ov/ for Feast of Confession; violet, brown ^ 
and gray for Advent, Lent and Vigils; 
black for Good Friday. ^^*^'- ^j~- 

Figure 138 shows a very pretty border, snitable for flower stand cover. 
It can be easily worked in gold thread. For the scroll line lay down a 
gold thread and secure it at intervals of one-sixteenth of an inch with red 
purse silk. Cut the floral portion of design out of cardboard and paste 
upon the foundation and work over with gold thread, as previously de- 
scribed. 

The lines enclosing the scroll device may be worked with three shades 

of green and three shades of red 
purse silk. Couch down the straight 
lines and work the small pattern 
between with outline and spot 
stitches. 

Figure 113, page 118, is also a 
very suitable design for either gold 
or silver thread or bullion, and will 
look particularly well wrought out on either blue, green or crimson velvet. 
The leaves may be treated with diamond couching in gold thread; the 
flowers may be worked with the same material over a cardboard foundation. 




DESIGN FOR BORDER. FIG. I38. 



rc(4 DAINTY WORK FOR PLEASURE AND PROFIT. 
BULLION EMBROIDERY. 

Bullion work is sometimes used for church embroideries in place 
of the purse silk and gold thread over cardboard, and the treatment is the 
same, as concerns the designs and the laying of the threads, except that the 
bullion is not used in the needle, but is cut in lengths the exact size of the 
width of design to be covered. Thread the needle with a yellow silk, 
waxed; bring it up from the back of the material, close to the cardboard 
foundation; thread one of the cut lengths of bullion on the point of the 

needle and put the needle down on the oppo- 
site side and pull through to the back. This 
operation brings the bullion into position, and 
if the length has been correctly measured the 
bullion will lie smooth and even across the 
cardboard; but if it has been cut too long or 
too short, the work must be done over again, 
as a single poor stitch will ruin the entire work. 
After the cardboard has been covered, the 
design should be outlined with bullion of a 
different variety, or with other colored cords. 
Bullion embroidery is also used to ornament 
the regalias and banners of different societies, 
and for heraldic devices. The designs for 
these purposes may be secured from medals, 
etc., in possession of the society for which the 
work is to be made. Perforated patterns can 
FIG. 139. be made for stamping the different parts of the 

design. For collars and other society vestments the cardboard foundation 
is pasted directly on the velvet forming the collars and covered with the 
bullion. Ivy leaves, arranged as a vine, is a favorite design for collars. The 
leaves are cut from cardboard. Sometimes one thickness and sometimes 
two thicknesses of the cardboard is used for a leaf. After the leaves of the 
pattern have been placed in position the bullion is worked over them, 
beginning at one edge of a leaf and ending the bullion in the center. One 
side of a leaf finished, the reverse side is then worked, and a thread of 
another shade of bullion is carried down the center to form the veinin?. 




CHURCH AND BULLION EMBROIDERIES. 



135 








&'^'^H_^ 



After all the leaves are worked, the stems and tendrils of the vine are to be 
worked directly on the velvet, without any cardboard foundation. When 
outline stitch is desired for this purpose the bullion should be cut just the 
length of a stitch, and each time an outline stitch is taken with the threaded 
needle a piece of bullion should be threaded on the needle. 

In making shields, eagles and other large devices, the foundation is 
cut out of cardboard, and some portion of the design will have four or five 
thicknesses of cardboard, one over the other, and each succeeding piece a 
size smaller than the 
first. This gives a 
more raised and 
rounded effect to the 
work. 

In making ban- 
ners, a piece of stout 
hoUand should be 
tacked in a frame, and 
the entire design 
should be stamped 
upon it and worked. 
The same design 
should also be 
stamped upon the 
silk composing the 
banner, and this ^^^- '^o- 

should be stretched in another frame. As fast as one part of the orna 
mentation is finished it maybe cut out of the holland and tacked into posi 
tion upon the banner and finished with a couched silk or gold cord. 

The mottoes upon banners look best made of bullion over a cardboard 
foundation. Though amateurs sometimes embroider them with gold thread 
upon the silk, the effect is not nearly as rich and heavy. There are several 
kinds and sizes of bullion, and introducing a variety into the same piece of 
work relieves the monotony of a design worked in one color. 

The trade terms for the different patterns of bullion are, checked, 
smooth, and spiral, and they come in bright gold and burnished gold. The 





136 



DAINTY WORK FOR PLEASURE AND PROFIT. 



same is true of silver bullion, which is made in the same patterns as the 
gold. Where the cardboard foundation is pasted directly on to the silk or 
velvet foundation, Chase's liquid glue is used for the purpose. 

In finishing banners, an interlining of crinoline should be put in; the 
sides should be finished with a flat band of gold lace and the ends with 
heavy bullion fringe. When hung on a pole, the top should be finished 
with gold cord and heavy bullion tassels. Figure 140 shows an Easter ban- 
ner. It consists of three banners suspended from a standard. The founda- 
tion of the three banners is white corded silk. The cross on the center 

banner is made of blue silk filled in 
with basket couching of gold bullion. 
The lily decorating the cross is made 
of silver bullion worked over card- 
board. 

The cross and circle on the 
small banner to the left is made of 
couchings of three varieties of gold 
bullion, checked, smooth and spiral, 
couched directly on to the white silk 
foundation with blue purse silk. The 
letters on the banner on the right are 
worked with silver bullion on a blue 
silk foundation. The letters are worked 
over a cardboard foundation, as pre- 
FiG. 141. viously described. The scarf of silk 

draping the standard should be white China silk edged with gold bullion. 

The Bleeding Heart is an emblem peculiar to the Church of Rome 
The colors for working are three shades of red, three of deep green, and for! 
the rays surrounding it gold bullion. Figure 141 is a very good working 
model for this emblem, but it should be enlarged five times the given 
size. 

Figure 142 shows emblem suited for small banners. Work the passion 
flowers in three shades of purple purse silk. Couch around the edges a 
cord of black knitting silk. For the leaves use three shades of green. For 
the letters use purple, crimson and green silk. The letters should be made 




CHURCH AND BULLION EMBROIDERIES. 



137 



over cardboard; the wreath should be worked on holland and appliqued 
to the foundation. 

The illustrations and directions here given will certainly be a valuable 
assistance to the experienced worker, and we trust that the explanations 
will be sufficiently clear to be of service to the beginner. 

In parting, a word of advice to the embroideress who is ambitious to 
undertake church or heraldic devices, may be "the right word in the 
right place." It is this, then: Practice diligently and patiently the differ- 
ent couching stitches explained in this chapter. Stretch a piece of material 
in your embroidery 
frame, and with gold 
thread and different 
kinds of silk threads 
work the couching 
stitches, and while they 
may seem simple in the 
reading, you will be 
astonished at the skill 
required to lay the 
threads evenly in posi- 
tion and to couch over 
them in the various pat- 
terns shown. 

There is no royal 
road to this skill. Noth- 
ing short of faithful 
practice, and patience 
unlimited will carry the worker to the goal of success. Next in importance 
is the long stitch. This should also be practiced until the threads can be 
at once placed at the exact angle desired, and in even, regular lines. 




FIG. 142. 



138 DAINTY WORK FOR PLEASURE AND PROFIT. 




PLATE DOYLEY. 





DRAPE. 



DRAPE. 



CHAPTER X. 



BERLIN EMBROIDERY. 




"l"^ ERLIN EMBROIDERY was, anciently, as much in vogue as is 
\(^\ (^he flat or art embroidery of the present day. In its original 
X_^ form, that is, wrought on canvas with wool or silk, it is still used 
for overhangings for mantels, borders for table covers and cur- 
tains, and for furniture coverings. But the modern use of Berlin 
work has necessitated some modifications in the method of work- 
ing. Several of the stitches formerly used exclusively in the 
manufacture of Berlin work are admirably adapted for use on plain 
and checked fabrics, namely cross stitch, tent stitch and a combination 
of the two, also satin and long cross. Perhaps the most popular form of 
this work is that wrought out with simple cross stitch on checked or square- 
meshed fabrics, such as Bargarren art cloth, huck-a-buck, Devonshire art 
cloth, checked lawns, scrim and gingham. On these fabrics beautiful geo- 
metric, floral or mythological designs can be worked with linen or silk 
threads, and most beautiful results obtained for a trifling outlay of time 
and money. 

The work maybe done with one color, or with a series of shades of any 
given color, as three or four shades of yellow, from light to dark. 

Bedroom and dining-room curtains made of scrim, and having a border 
of cross stitch done with filo floss or linen floss, can be easily accomplished, 
as the coarser qualities of scrim are quite equal to the regular Berlin canvas 
for the purpose. Beside curtains, toilet sets, tidies and towel ends may be 
worked to match. 

Figure 143 shows a border of dragons that is suitable for use on cur- 
tains, bedspreads, shams, stand and dresser covers, all embroidered to 



140 DAINTY WORK FOR PLEASURE AND PROFIT. 




iillPikiJiio. 



«v^«s«,;:iKfi?,aKi:h:iJ:ijj| 






match. Provided the materials used do not show a check or mesh, Berlin 
canvas can be basted into position on the different articles, after which the 
design can be worked on the canvas. When completed, cut the threads of 

the canvas and pull them out, leav- 
mg the work on the surface of the 
maierial. Indeed, this method is 
always employed whenever a pat- 
tern is used that requires to be 
counted on a small square or check; 
or whenever the surface of the ma- 
terial to be embroidered is smooth. 
The colors for working the bor- 
der of dragons may be selected to 
harmonize with other furnishings of 
the room in which it is to be used. 
An artistic combination would be as 
follows: Work the bodies, heads 
and claws in deep yellow filo floss; 
the heads and tail in two shades of 
lily green filo floss, the lightest 
shade being indicated by the square 
crosses in the stitches shown in the 
illustration and the darkest by the 
black stitches. Work the ribbon 
hanging from the dragon's mouth 
in deep crimson filo floss. For the 
border: Work the straight lines with 
the lightest shade of lily green filo 
floss, and work the center stitches, 
alternately, tvith the deepest shade 
of lily green and crimson filo floss. 
DRAGON BORDER. FIG. 143. The pattern can be repeated, as the 

tails of the dragons join. When it is repeated, the center of the design 
should show the two dragons facing each other, as given in the illustration 
This design is particularly suitable for mantel hangings for library or study 



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BERLIN EMBROIDERY. 



141 



When Berlin work is used to decorate coverings for furniture, the pat- 
tern should be formed of rope silk or filo floss, and the grounding stitches 
done with Berlin wool. Patterns for this purpose should be conventional, 
and the colors used dull, dead shades for the design and black or brown 




FIG. 144. 

wool for the grounding. Figures 144 and 145 show a chair upholstered with 
this work, and the detail of pattern with the proper colorings. As will be 
seen, very little grounding will be necessary. The design is worked in cross 
stitch, and the grounding is done with Irish stitch. If it is desired to work 



M: 



DAINTY WORK FOR PLEASURE AND PROFIT. 



the design upon a fabric instead of canvas, Devonshire art cloth will be at 
once suitable and artistic. After the work of embroidery is finished, it will 
be well to have a regular upholsterer put it on the article to be covered. 
The cost for this part of the work will be but a trifle, and the result will be 
sure to justify the extra expense. For recovering odd pieces of dilapidated 
furniture no work is at once so durable and inexpensive, providing the em- 
broidery is done at home. 

The genuine Berlin embroi- 
dery is always worked on can- 
*w ^hSIPs?^ vas, of which there are three 
1 "»-. ^^nI^ styles used, namely, Berlin 
canvas, Penelope canvas and 
Java canvas. The latter is a 
small, square-meshed woolen 
canvas, which is made in white 
and colors. The design is first 
worked in cross stitch or tent 
stitch with silk, after which the 
background of canvas is filled 
completely with grounding 
stitch done with Berlin wool or 
crewels. Following we give a 
list of the principal stitches em- 
ployed, also a few of the com- 
binations. 

A very little practice will 
suffice to render the learner 
familiar with the stitches and 
DETAIL OF FIG. 144. FIG. 145. Combinations shown here. The 

materials generally used for forming the stitches are Berlin wool, German 
wool, crewels, zephyr, purse, knitting, etching and rope silks, also linen 
threads and working cottons. The wools are used for filling in back- 
grounds, the silks, smaller size linen threads and working cottons are used 
to work the designs. Linen and cotton threads are only suitable for work- 
ing patterns on meshed fabrics. 




m Park olivo. XX Jlediuni shade, nmt' Light olive. tOt Dark red 
01, blue. Sfil Middle shade of red or blue. SSS Light red c 



BERLIN EMBROIDERY. 143 

The stitches used formerly for Berlin work were cross, cushion, satin, 
tapestry and tent, but these have been added to in late years, and now 
include German, Irish, plush, leviathan — single, double and treble — and 
fancy stitches combined from the above. 

Back Stitch. — This stitch is made like the ordinary back stitch 
taken in plain sewing. 

Cross Stitch. — This is the principal stitch used in Berlin work. It 
is used not only for working with wool on canvas, but for embroidering with 
any material that will thread, upon cloth, silk, satin and velvet. It was 
much used in the Egyptian embroideries. This stitch can be worked in a 

h. frame or upon the hand. That done in a frame 
9F generally looks the best. Cross stitch is a 
p double stitch taken over two threads, the 
object being always to form a perfect square. 
The thread is taken in a slanting direction 
across this square from left to right, the needle 
FTiritirinrwniinnnnnnninir' b^ir^g brought up on the lower left-hand corner, 
CROSS STITCH. FIG. 146. put in at the upper right-h^nd corner, brought 
up at the lower right-hand corner, and crossed back to the upper left-hand 
corner. When grounding in cross stitch, work the first part of the stitch in 
rows along the canvas, and cross it when returning. When using the stitch 
for a pattern, finish each stitch at once and commence from the bottom on 
the left-hand side. 

Long Cross Stitch. — This is a variation of cross stitch, the two 
stitches forming it not making a perfect square ^^^^^Myi^MHB'^^' 
but a long stitch crossed. This is managed by 
taking the silk or wool over a greater number of 
threads in height than in width — four threads in 
height to two in width being the correct propor- ^ 
tion, as shown in figure 147. This stitch is suit- 
able for geometrical patterns, and can be varied, ^ 
as shown in figure 154 by silk cross stitches taken 
over the two long cross ones; this variety of the n 
stitch is particularly suitable for filling large ^^^- '•^7- 

spaces in grounding, as it covers the surface rapidly and effectively. 





144 



DAINTY WORK FOR PLEASURE AND PROFIT. 




Persian Cross Stitch. — The first half of the stitch is a long 

stitch taken over six horizontal threads in a slanting direction and two in 

height; the second is the last half of cross stitch, 

over the two center threads of the long stitch, from 

right to left. See figure 148. 

Cusilion Stitch. — One of the ancient names 

given to cross stitch. 

Damastc Stitch is a variety of long stitch. It 

is taken over four horizontal threads of canvas, or two 

stitches, in a slanting direction and over two upright 

threads. The variety is that all the remaining sec- Persian cross stitch. 

end lines of damask stitch are taken over the two f^g. 148. 

lower threads of the upper line, and two new threads, instead of ail the 

threads being new. 

German Stitch. — This is a stitch formed from a tapestry and tent 

stitch, being worked alternately in a diagonal line across the canvas. The 

tapestry passes over four threads, the tent over two — see figure 149. In the 
^^ succeeding line the tent is placed under the tapestry and 
the tapestry under the tent, but so that the canvas shows. 
This stitch is suitable for 
borders where the founda- 
tion can be left exposed, 
but is rarely used for 
patterns. See figure 149. 

uii Hinui mill nil ui m. im Tapestry St i tch 

GERMAN STITCH. 

FIG. 149. is used in embroidery as 

well as in Berlin work. As will be seen from tapestry stitch, fig. 150. 

figure 150, the stitch is raised from the canvas by means of a padding of 
braid. This padding is a great improvement to this stitch, as otherwise it 
lies quite flat, not being crossed. It is worked over two horizontal threads 
and into every space left by the upright ones. 

I rish Stitch is used for grounding or for patterns formed with shades 
of color in Vandyke crossing. Irish stitch is a long stitch taken over five 
or more threads of canvas in an upright direction, and should be worked on 
fine canvas. Its only peculiarity consists in being alternately started from 





BERLIN EMBROIDERY. 



M"; 



the last row of canvas and from the third. This allow s the stitch to end in 
one line where the center of the next line comes, and gives a pleasing 
variety to ordinary groundings. 

Le\7iathan Stitch. — A modern Berlin stitch, sometimes called "rail- 
way," because it is considered to cover the canvas quickly. It requires to 
be worked on large sized or leviathan canvas. To work: Four squares 
must be taken for one stitch, and a cross stitch made into the four corners 
of the square. The wool is then carried across the center of the stitch 
from top to bottom, and then from left to right, so that it passes through 
all the outside holes of the square forming the stitch. It is worked all 
together, and each stitch is made as to crossings exactly the same, or an 
even appearance to the whole will not be given. 

Varieties of leviathan are formed by working over six or eight threads 
in height and as many in width. These require a double crossing at top 
and side for the sixth thread, and a double crossing and a straight stitch top 
and side for the eighth. These varieties are called double leviathan and 
treble leviathan. See figure 151. 

Double Leviathan Stitch. — Work over eight square threads, or 
four square stitches. Make a cross 
stitch into the four corners of the 
square, then a long cross stitch to 
fill in the holes on each side of the 
cross stitch, and lastly an upright 
cross into the middle stitches in 
length and width of square. Fill in 
all the square in the same order or 
the uniformity of the pattern will be 
destroyed, and put a single long 
stitch between each square, to fill up 
the part of the canvas that is left 
bare. See figure 151. When com- 
mencing a new line of stitches on 
the canvas make a half stitch to be- 
gin, so that the center of the second double leviathan stitch, fig. 151. 
line of stitches does not come under the center of Vhe first line. Com- 




mi 



146 



DAINTY WORK FOR PLEASURE AND PROFIT. 



mence with a half stitch at each alternate row. This stitch shou'd be 
worked upon leviathan canvas, and it is not suitable for groundings, and 
should only be used for geometrical designs. 

Treble Leviathan Stitch. — To work this stitch a square of eight 
threads of four stitches is required. The work starts from the center and 
is taken to one of the corners, passing over four upright threads and four 
horizontal ones in a slanting direction. The next two stitches are placed 
one on each side of the first, crossing over four horizontal and two upright 
threads, and vice versa, all finishing in center hole. The four corners are 
thus worked, and the stitch is completed by taking a cross stitch over the 
center hole and one in the center of each side of the square. When repeat- 
ing this stitch the outside crosses are worked only in every alternate 
square of eight, as there is not room to make one at every stitch. The 
crosses should be worked with a contrasting shade. 
Long" Stitch. — See satin stitch. 

Tent Stitch. — To work this stitch requires finer canvas than that 
used for cross stitch, the silk or wool being laid on the canvas once instead 

of twice. Tent stitch is shown in fig- 
ure 152 and is simply the first half of 
te cross stitch, the silk or wool passing 
over one or two threads of canvas in 
a diagonal direction. 

Raised Stitch.— This stitch 

is used for raised woolwork, and can 
be worked to any height by using 
various sized meshes, and then cut 
and combed until the wool attains the softness of velvet pile. To make: 
Use a No. 4 knitting needle. The first stitch is a tent stitch. Bring the 
needle up where the stitch began, push the knitting needle over the tent 
stitch and make a gobelin stitch over it, putting the needle in two threads 
above the place where it came out. It is now at the bottom of the next stitch 
to be made, which is a tent stitch. Repeat the process described above. 
The work is commenced from the bottom, and the knitting needle left in 
lowest row until the row above it is completed; this prevents any drao-o-incr 
of the wool. Cut and comb out all the loops when the work is completed. 




TENT STITCH. FIG. 1 52. 



BERLIN EMBROIDERY. 



147 




Satin Stitch in squares. — The squares are made over six threads 
in length and breadth and filled by unequal length satin stitch. The 
direction of the stitches are altered 
each alternate square. 

As will be seen, satin stitch is sus- 
ceptible of many variations. Working 
in alternate colors will give a beautiful 
effect of shading, and is most effec- 
tive where the design is geometric in §^||| 
character, and is worked out with black 2Qtp 
silk. See figure 153. 

Figure 154 shows a combination 
of long cross stitch and cross stitch, ggrir- 

This design is well adapted for filling satin stitch i\ s(n'\RE'^. fig. 153. 
backgrounds; for working, see detail of long cross. xA.fter the long cross 

stitches have been made with the 
Berlin wool or crewels — using 
for the purpose two contrasting 
shades of a dark color — work over 
them in sections, forming squares, 
cross stitches of bright colored 
filo floss, three strands. 

In the preceding pages of 
this chapter we have tried to give 
those stitches and combinations 
that are more commonly em- 
ployed in Berlin work, either on 
canvas or meshed fabrics. Lim- 
ited space forbids the giving of 

CROSS AND LONG CROSS STITCHES. FIG. 154. , ^ -i j 1 • 1 • j 

-^ detailed working designs and we 
have therefore, given only sufficient to illustrate the different stitches and 
their applications. There is much scope in this direction for the exercising 
of personal ingenuity, as the different combinations that can be made with 
the stitches here illustrated are almost unlimited. 




148 DAINTY WORK FOR PLEASURE AND PROFIT. 




BEDSPREADS AND PILLOW SHAMS. 




CHAPTER XI. 



RAISED EMBROIDERY. 



AISED EMBROIDERY is a subject that will inter 
est all lovers of decorative needlework, and we 
have purposely delayed its discusssion until the 
higher forms of art needlework had been thor- 
oughly mastered. It is a style of decoration that 
should be indulged in very sparingly, as too much 
of it in a room will cheapen rather than enhance the effect 
of the entire furnishing, while if prudently and sparingly 
used it will give a pleasing variety to the other decorative 
work. 

Raised embroidery was not designed for its utility, evi- 
dently, as to use it means to ruin it. Therefore do not employ it to decorate 
cushion covers, tidies, or, in fact, any article where the embroidery will be 
subject to the least wear, but reserve it for the embellishment of mirror 
frames, panels for the walls, over-mantel curtains, easel pieces, table banner- 
screens, and for the outer covering of handkerchief and glove sachets. This 
style of embroidery must never be skimped as to material nor slighted in 
the workmanship if satisfactory results are desired. 

There are several flowers and fruits that are especially adapted for 
raised embroidery, and we propose in the present chapter to select those 
designs that are most effective when finished, and that can be used for the 
greatest variety of purposes, as in the pages of a work of this kind it will 
be quite impossible to give a specific lesson on all the fruits and flowers 
that can be used for this style of work. 

Ribbon work, sometimes called "roccoco," is one of the oldest forms 
of raised embroidery, and was much used in the last century; it has had- 
from time to time, a revival of popularity in this. At first the ribbon was 



150 DAINTY WORK FOR PLEASURE AND PROFIT. 

n n riMiiiiiiiiiiinTimi iinniniiiiiiii|miiiii iiiiiiiiiiiiiiii |i i iiMiiii||iiiiimiiiii!{|{'i{ililliiliilllllHIIII|>[l!l!|!llll!ininillllllllllllIIIIfillTinill||||| 




RIBBON WORK-SEE PAGE 151. 



RAISED EMBROIDERY. 151 

worked on the material without any effort at raising it; a narrow ribbon 
threaded in a long-eyed needle being used for this purpose. From this to 
single and double roses was but a step, after which followed raised cat-tails, 
golden rod, coxcomb, sumac, snowball, fruits and varieties of the lily fam- 
ily. We will discuss first the various forms of 

RIBBON WORK. 

The earlier ribbon designs were worked out with a n?/row China ribbon 
about one-half inch in width. This ribbon was dyed with beautiful shades 
in art tones, as old blue, dead rose, sage green, etc. Some of the ribbons 
were shaded from light on one edge to dark on the other, and thus formed 
effective shadings. 

The designs for working the ribbon were of the smaller flowers or of 
the larger ones drawn in miniature and arranged as Kensington designs are 
now made. Also Louis XVI designs — arrangement of flowers in various 
devices — were designed on satin bed coverings and door hangings in de- 
tached groups or in continuous garlands around the borders, with clusters 
powdered over the center. 

To work: For the leaves, thread a long-eyed needle with a green rib- 
bon, bring it up from the back of the material, at the point of the leaf, and 
put it through to the back again at the base of the leaf; this, in case of 
long-pointed leaves, and also for the petals of star-shaped flowers. Where 
the leaf is broad, the ribbon is worked in satin stitch, taking the stitch from 
one edge to the center of leaf at an angle; the reverse side being worked in 
the same manner, forms a vein in the center. For double flowers in minia- 
ture, as asters, roses, etc., shaded ribbon was used. This was gathered full 
on the darker edge, which was sewed on the design, beginning in the center 
and sewing around toward the outer edge, until the design was filled in. 
For very small single flowers the ribbon was threaded in the needle, as for 
the leaves, and a single stitch taken from top to bottom of petal. The cen- 
ters of flowers were put in with filo floss in French knot. Page 150 shows 
a design for this style of embroidery full working size. It is suitable for 
toilet cushion covers, or it may be repeated for borders, or clusters may be 
detached and used as powderings. 

This form of ribbon work is indulged in by the wealthy only, as the 
ribbon is a foreign manufacture, and not imported into this country, except 



152 DAINTY WORK FOR PLEASURE AND PROFIT. 

by the decorative art societies, which make a specialty of keeping ribbons 
and designs for this work. A cushion with Louis XVI design worked in 
the manner here described is in the possession of the Chicago Society of 
Decorative Art and valued at S50. On the other hand, if one has friends 
in Paris, the ribbon can be there purchased for a few cents per yard, and 
good designs can be traced from prints of decorations of the Louis XVI 
period. The ribbon work above described is the highest form of raised 
work indulged in even at the present day. As the designs for it are of a 
light and graceful character and the tints of the ribbon exceedingly deli- 
cate, it follows that the background on which it is to be applied should also 
be of a light or medium tone of color, and satin or silk offers by far the 
best surface. 

SINGLE RIBBON ROSES. 

Branching sprays of large single roses and buds are suitable for ribbon 
work, and may be applied to screens or mantel hangings with good effect. 
The amount of material necessary for working out a design will, of course. 
depend upon the number of roses, buds and leaves in the arrangement. 
For the purposes of this lesson we will suppose a branch of roses consisting 
of three full-blown and three half-blown roses, four buds and thirty-three 
leaves. This design will require three and one-half yards No. 16 satin ribbon, 
divided as follows: One yard deep rose pink; one-half yard rose pink one 
shade lighter than that first selected; and one-half yard two shades lighter 
still. One yard deep rose red ribbon; one-half yard a shade lighter; and one- 
half yard two shades lighter than the shade first selected. The shades of 
color must be in exact lines of gradation, from light to dark. This com- 
bination of blush roses and deep red roses on a dark blue velvet background 
is exceedingly pleasing. Beside the ribbon and the material for the back- 
ground there will be required a long-eyed and a common needle; three 
skeins olive green filo floss; three dozen skeins No. 2 imported chenille, 
and a square frame. 

As regards materials for ribbon roses, opinion differs, some teachers 
preferring satin in the piece, while others use nothing but the satin ribbon. 
We have always employed the latter for three very important reasons: 
First, closer shading can be obtained; second, the ribbon has more body 
and can be manipulated with greater ease; and. lastly, there are no rav' 



RAISED EMBROIDERY. 153 

edges to be cared for. No two persons ever secure the same results with 
the same materials, no matter how closely a rule maybe followed; more 
or less of a worker's individuality is certain to creep into the work, and rib 
bon seems to offer the best medium for the expression of this individuality. 
Stamp the design upon the material, and after the paint has thoroughly 
dried, stretch it firmly in the frame. Do not pin the fabric to the frame 
but sew it with strong thread. 

In all raised work the leaves or foliage should be worked first, and the 
flowers added last, otherwise the raised portion would be in the way and 
would become crushed and soiled. At least twelve shades of chenille will 
be required for effective shading, as follows: Five shades of olive green, 
from light to dark; five shades of wood brown, shading from ecru to a deep, 
rich brown, and two shades of red brown. 

On ribbon work the foliage should be striking and effective, rich and 
varied. One can hardly go astray on shading rose leaves vividly, as nature 
has set us an example of the utmost latitude. Each leaf should contain at 
least three different shades. These need not necessarily be three shades 
of one color in direct line of ascent or descent, as, for instance the first, 
second and third shades of the olive greens or the wood browns; in fact, this 
form of shading would give unbroken and monotonous effects if carried out 
through all the design— a result to be avoided, although an occasional leaf 
worked after this rule helps to lend variety to the whole. All that is arbi- 
trary in this form of shading is that the outside of each leaf shall be worked 
with the lightest shade used, or if shaded from the tip down, the base must 
be darkest, the tip lightest; or, agam, if opposite sides of a leaf are to be 
differently shaded, the side which the light strikes first must be worked 
with the lightest shades, while the under side should be dark. 

In using chenille, follow the outline of the leaf closely, and do not 
make the stitch of regular lengths; preserve such a slant as will not crowd 
the stitches, and do not leave too many open spaces to be filled in with the 
succeeding shades. 

After the foliage has been worked, protect it from the dust by sewing 
over it fine tissue paper, leaving exposed only that portion of material 
where the roses and buds are to be placed. 



154 DAINTY WORK FOR PLEASURE AND PROFIT. 




LIBRARY TABLE COVER WITH CROCHETED FRINGE. 



RAISED EMBROIDERY. 155 

To make the roses: Cut two pieces of the lightest shade of rose pink 
ribbon two inches in length; two pieces of the shade next deeper, and one 
piece of the deepest shade, all two inches long. These are to form the five 
petals of the rose. Thread a common sewing needle with strong thread, 
and sew one end of each piece of ribbon in three small plaits and fasten 
firmly. With the same kind of thread gather the other end of the pieces of 
ribbon, draw together tightly and fasten. 

Begin with the lightest petals first. Fasten i\\Q gathered end of a petal 
to the outer edge of the highest petal of a rose in the design. Sew it firmly 
to the material on the wrong side of the ribbon, then turn the petal over 
(like the flounce of a dress when sewed on the wrong side and allowed to 
fall over, showing no fastening stitches), and bring the plaited end to the 
center of rose and fasten on the right side. The mechanical part of the 
petal is now finished, and it rests with the worker how much individuality 
is put into the flower when completed. Lay one or two tiny plaits on each 
side of the outer edge of petal and fasten; this will give a rounded fullness 
to the ribbon, which fullness can be crushed into close resemblance to a 
crumpled rose leaf by a few judicious and gentle touches; allow the ribbon 
to dispose itself gracefully, and catch it here and there with a stitch to hold 
in place; turn the edges under slightly, and carry the thread on wrong side 
to the center of rose, where a few little gathered stitches on each side of 
the petal, close to center, will be an improvement. For the second petal 
proceed as for the first, catching the two petals together at the top with a 
blind stitch, being careful to avoid a strained or forced appearance. The 
two upper petals should be of the lightest shades, the three under petals of 
the two deepest shades. When the petals are finished fill in the center with 
French knots, using three strands of green filo floss. Thread the sewing needle 
with a single strand of pale yellow filo floss; begin at center of petal and 
carry three long light stitches upon it, the longest stitch in the center and 
a shorter one on each side. Repeat these stitches upon each petal. This 
completes the rose. 

The buds are formed in the same manner as the rose petals. For very 
large buds, a piece of ribbon one and a half or two inches long will be re- 
quired, while for small buds three-quarters of an inch will be sufficient. 
Plait one end and gather the other, as described for the rose petals. Fasten 



156 DAINTY WORK FOR PLEASURE AND PROFIT. 

the gathered end to the top of bud, fold over and fasten the plaited end to 
the center of the bud. This method leaves a graceful fullness, which can be 
manipulated easily by picking and punching into position with the needle, 
and caught here and there with an invisible stitch to hold in place. Carry 
the needle to the right of bud at the base, and take three small running 
stitches in the edge of the ribbon, always with the needle point towards the 
top of the bud. After the running stitches are in, draw the needle back to 
base of bud and fasten. Repeat the same operations on the left side; this 
will bring the ribbon into minute folds. With the lightest shade of olive 
green chenille work the calyx of bud, carrying a few long stitches well 
upon the bud itself; do not pull them, but allow each stitch to lie lightly in 
place. Follow the markings of pattern on each side and at the top of bud 
with single stitches of chenille. 

The half-blown roses are manipulated in the same manner, except that 
three pieces of the deepest shades of ribbon, two inches long, will be re- 
quired. Place these in position so as to cover the design. Little pulling 
or pricking into position with the needle will be necessary, and where the 
rose joins the stem it should be heavily worked with the second shade of 
olive green chenille. F'oUow markings of pattern, and do not be afraid to 
carry a few graceful, light stitches well upon the rose itself, starting from 
the base. 

DOUBLE RIBBON ROSES. 

Double ribbon roses are suitable fcr decorating many articles, and they 
can be easily made if the directions here given are carefully followed. Each 
rose will require three shades of ribbon, divided into twenty pieces, as fol- 
lows: Five pieces, two and one-half inches long, of the deepest shade used; 
five pieces of ribbon of the same shade as first given, three inches long; five 
pieces of the next lightest shade, four inches long, and five pieces, the same 
length, of the lightest shade. 

Gather one end of each piece of ribbon and plait the other end, as de- 
scribed for single roses. Begin at the outer edge of the stamped rose and 
sew down on each stamped petal a ribbon petal, using for this purpose the 
five four-inch pieces of the lightest shade of ribbon. Do not fold the ends 
of the ribbon petals together to fasten, but sew down the plaited end first, 



RAISED EMBROIDERY. 157 

as described for single roses, then turn the petal over and fasten down the 
gathered end, a hair's breadth beyond where the first end was sewed down. 
After the five outer petals have been fastened into position, take a few run- 
ning stitches on each side of each petal, at the base, and draw down toward 
the bottom of the petal and toward the center and fasten. Put in die next 
row of petals in the same manner, sewing down the plaited end so as to 
cover the gathered end of the preceding petal; use for this row the four- 
inch pieces that have been cut from the next deeper shade of ribbon. In- 
side this row fasten down, in the same manner, a row of petals of the deep- 
est shade. Use the three-inch pieces for this row. Inside this, again, put 
in the petals that were cut two and one-half inches long, and which were 
also cut from the deepest shade of ribbon. This completes the rose to the 
center. Fill the-center as follows: Cut a square piece of the ribbon, fold it 
diagonally across the center, making a half square; gather the two sides of 
the square into a point and fasten, giving the ribbon a little roll inward 
as the fastening is completed. Place this exactly in the center of the rose, 
and secure it firmly. 

The different petals can be pinched into shape and fastened here and 
there with invisible stitches. The beauty of this work depends entirely 
upon the manipulation of the petals after they have been fastened into posi- 
tion. The more crumpled they are the better will be the effect. 

CALLA LILY. 

For banners or easel pieces there is no flower more effective than the 
calla lily, and better than almost any other flower does it lend itself to 
raised effects. The background should be of plush or velvet, and the color 
should be rich and warm. A deep blue, crimson or green will throw the 
raised callas into relief. 

In putting the design upon the material, stamp on only the leaves and 
stems; do not stamp the flowers. The material required for making one calla 
will be as follows: One square foot of screen wire — the finest mesh made — 
this can be procured at any hardware store; four dozen skeins cream white 
arrasene; one calla center, one skein light olive green chenille, one arrasene 
needle, one piece wash blond. The wire will be sufficient for two callas 
and one bud, but less cannot be purchased. 



158 DAINTY WORK FOR PLEASURE AND PROFIT 




WORKING PATTERN FOR CALLA, PANSY AND TIGER LILY- SEE PAGE 157. 



RAISED EMBROIDERY. 



159 



Cut a piece of the wire into shape by the calla pattern on page 158, cut 
with a pair of sliarp shears, so as to get a good, clear edge. Cover this wire 
calla on both sides with the wash blond and secure with a few stitches. 
You are now ready to work the calla. 

Thread the arrasene needle with a strand of the white arrasene. Begin 
at the top point of the flower and work over the edge, down one side; return 
to top of flower again and work down the opposite side, taking the stitch 
in to a depth of at least one or two inches. This 
operation will give a smooth, even edge to the 
flower, alike on both sides, and is worked as 
follows: Bring the needle up from the top of 
the wire about two inches from the top edge; 
throw the thread over the edge and bring the 
needle up again from the back. Repeat until 
the edge of flower has been worked. After this 
part of the work has been completed, begin to 
cover the wire on one side by filling in toward 
the center with several rows of short and long 
stitches, being careful to work both halves of 
the wire shape so evenly that there shall be no 
perceptible joining in the center, but the entire 
calla should present a smooth even surface. 
This completed, turn the wire shape over and 
work in the same manner on the reverse side. calla lily. fig. 155. 

In working, twist the arrasene in the needle. When the wire has been 
smoothly and solidly covered with the arrasene stitches on both sides, take 
the calla between the thumb and finger of one hand, near the top of the 
flower, and with the other fold it into shape, after the fashion of twisting a 
cornucopia; the wire is stiff and will retain the shape without trouble. ' Place 
the calla in position on the background and secure with a single stitch at the 
top and one at the base of the flower. This will be sufficient to hold it in 
place. Slip the calla center into position and catch with a stitch. With the 
green chenille, work the calyx of calla, carrying the stitches well up on 
the outside of the flower, working quite heavy at the base. This throws 




i6o 



DAINTY WORK FOR PLEASURE AND PROFIT. 



the flower into relief and gives it a rich effect. The stems of the calla 
should be worked with solid Kensington stitch. 

Sometimes the calla is made of fine chenille instead of the arrasene, 
but it is never so satisfactory. Figure 155 shows a raised calla applied to a 
moss green plush banner, and will give an idea of grouping. These raised 
callas are very beautiful for Easter decorations. 

When the callas are soiled they' can be removed and cleaned by shak- 
ing in a pan of flour that has been previously well dried. 
TIGER AND JAPAN LILIES. 
The above varieties of lilies lend themselves to raised effects admir- 
ably, and are easily made. First, stamp the design on the material to be 
embroidered — that is the leaves and' foliage — be careful, however, not to 

stamp the flower itself, as its position will be 
sufficiently indicated by the stems, and if the 
flower were st»amped it would be difficult to 
cover the marks. 

Figure 156 shows a correct shape by whieh 
to cut the wire petals for a tiger lily. It should 
be drawn from the figure and cut out of stiff card- 
board so as to secure a pattern by which to cut 
the wire. P"or a Japan lily this pattern should be 
cut three times as large. 

Materials required for a single Japan or tiger 
lily are as follows: Screen wire, finest mesh, blond 
net, arrasene and chenille. Both varieties ot 
FKi. 15(3. lilies are worked in the same manner, so that the 

instructions for one will answer for the other. 

Three shades of orange yellow arrasene will be required for working 
the petals of tlie tiger lily, and one shade of pinkish white arrasene for the 
petals of the Japan lily. The brown spots marking the petals of both 
varieties should be imitated with reddish brown chenille. No. i — the finest 
made — with seed stitch. 

The centers of the flowers can be purchased at any art store, though 
they may be very successfully made at home by grouping together pieces 
of fine hair wire for the stamens. Cut the wires about three inches long 




RAISED EMBROIDERY. i6i 

and bind them firmly together at the bottom; spread the wires apart at the 
top and fasten on the point of each a tiny bit of cotton wool; dip the whole 
in melted rosin, and then, while still wet, dip the very points covered with 
the wool in dry mustard, or sprinkle with gold powder. 

For a tiger lily cut six petals out of the wire, by the pattern previously 
prepared, and cover them with the blond net. Work as follows: Begin at 
the tip of a wire petal with the lightest shade of the orange yellow, and 
work it downward in Kensington stitch to the base, using the three shades 
of orange yellow — the darkest at the base of petal. Work both sides of 
the wire petals alike. When finished, group them around the prepared, 
center and secure with a few invisible stitches. After the stems and foliage 
have been worked with arrasene or chenille, punch a small hole at the 
point where the flower is to be placed and insert the stem of the lily, fasten- 
ing it on the back of the material, and also catch a stitch or two lightly 
through the petals that lie next the material; curl the points of the petals 
outward, and work a few stitches on the lower part of flower with olive 
green chenille, to form the calyx. The Japan lily is made and placed in 
position in exactly the same manner. 

Groups of either Japan or tiger lilies made in the above manner are 
suitable ornaments for the top of toilet cushions, banners or placques. To 
make one lily of either variety will require three skeins of arrasene, one 
skein of olive green chenille for the calyx, one thread brown chenille for 
the markings of petals, one yard hair wire and one-half foot of screen wire. 
Multiply the above quantity by the number of flowers on a pattern and it 
will give the necessary amount of material for that pattern. The back- 
ground should be satin or velvet, either cream, blue or deep moss green. 

WATER LILY. 

Cut the shape of lily petal in fine screen wire, using the pattern of 
water lily on page 158 to get the shape of petal from. Cover the wire petal 
with white blond or rice net, smoothly, and beginning at the top of petal 
work downward in Kensington stitch with white arrasene; when one side 
of petal is worked, turn and work the reverse side in the same manner. 
For large lilies twenty-four petals will be necessary, using twelve for 
extreme outside row and eight for inside row, and the remaining four to 



i62 DAINTY WORK FOR PLEASURE AND PROFIT. 

3urround the center, which can be purchased at any art store. The outside 
petals should have a few stitches of green arrasene near the base of 
each. The last or inner row of four petals should be much smaller than 
the outside row. In stamping the design do not stamp, the lilies on the 
goods — just the leaves and stems — as in arranging the petals you would not 
be able to cover the marks made by stamping. Raised water lilies look 
best mounted either on white velvet or dark green satin. The leaves and 
stems should be worked with lily green arrasene or chenille. This flower, 
thus treated, is suitable for placques, banners, or for corners of plush- 
covered mirror frames. To arrange the petals on the foundation, com- 
mence on the outer edge of the space the flower is to occupy, and sew 
twelve of the large petals in a circle, fastening the petals to the fabric by 
taking a securing stitch in the very edge of base of petal. Curve the petal 
outward at the base and inward at the top, giving a cup-shape appearance 
to all the petals. Inside of this outer row of petals arrange eight petals, 
the same size, so that the center of each inner petal shall come exactly 
opposite the center of two outer petals, and last sew in the four small petals, 
arranging them so that each petal shall come opposite the joining of two 
petals in the preceding row; curve each row of petals as directed. After 
the petals are sewed in position, punch a hole with the stilletto in the exact 
center of the flower and insert the stem of the lily center and fasten it on 
the back. 

GOLDEN ROD. 

This most beautiful of all our autumn flowers is essentially national 
in its character, as it grows from east to west and from north to south; in 
good soil and in barren and waste places. It is loved by the rich and poor 
alike, and is a golden glory always. 

For purposes of embroidery, where bright rich color is desired, there is no 
other flower that can quite fill its place. It allows of graceful arrangements 
of form, and is susceptible of the most subtle gradations of light and shade. 
It is especially beautiful when combined with other autumn flowers — as 
sumac, thistles or asters — the rich purples and bright gold forming a piece 
of gorgeous coloring that will most effectually brighten up any dull corner. 

Golden rod may be worked in several ways, either raised or flat, and 
the materials may be arrasene, chenille, rope silk, filo floss or etching silk. 



RAISED EMBROIDERY. 163 

To work with arrasene or chenille, commence at top edge of the high- 
est branch of the golden rod and fill the surface of pattern with French 
knots, using the palest shade at the top and shading to deepest gold on the 
under branches; when it is desired to raise the flower, rope silk or filo floss 
must be used. First fill the surface of the pattern with large French knots 
of olive green rope silk; then, between each knot sew down thick strands 
of the silk, cut in lengths and crossed like the letter X; catch in the center 
of the X with a fastening stitch, pulling it down firmly, this will cause the 
ends of the strands of silk to spring up and cover the fastening stitches. 
Cover the surface of design thickly with the crossed strands of silk, which 
will be supported by the underfilling of French knots, which will also 
afford that undershading of green seen in the natural flower. To work a 
medium-sized branch of golden rod about four shades of filo floss will be 
required, viz: Nos. 1261, 1262, 1263 and 1264. When it is wished to work this 
flower on wash fabrics the work should be done with two or three shades 
of yellow etching silk in French knots; make the knots smooth and even, 
winding the thread around the needle twice only; place the knots close 
together, but do not crowd them. Made as above described, the knots will 
not be much raised from the surface, and work thus treated will laundry 
perfectly. The foliage and stems of the golden rod should be worked with 
silver or lily green silk in Kensington stitch. 

CATTAIL. 

This rather stiff and stately inhabitant of river courses and marshes is 
sometimes used for decorative purposes. It is suitable for frieze or dado 
for curtains, for banners or easel piece. When used on a curtain the leaves 
and foliage should be worked with solid Kensington stitch and the cattail 
with brown rope or etching silk in heavy French knots. When desired for 
banner or similar purpose, the cattail should be worked in plush stitch 
done with filo floss over a ground of French knots, made of brown zephyr. 
In fact, whenever plush stitch is used, the design should first be covered 
with French knots in order to give body and firmness when the work is fin- 
ished, and as this stitch depends for its beauty upon the firmness and com 
pactness with which it is worked, this grounding is essential. The work, 
when the stitch is completed, must be evenly and carefully shaved and 
combed out. 



i64 DAINTY WORK FOR PLEASURE AND PROFIT. 



The foliage and spike or cattail may also be effectively worked with 
No. 2 chenille in browns for the cattail, and olive green, three shades, for 
foliage. Cover the design with French knots or with solid Kensington 
stitch. 

COXCOMB. 

This gorgeously-colored flower is peculiarly adapted for raised effects, 
but is most effective when combined with some other autumn flower. A 
favorite combination is coxcomb and thistles, or coxcomb and golden rod 
and sumac as shown in the illustration, figure 157. 

Three shades of red filo floss will be required for working coxcomb, a 
deep red, a medium red and a bright scarlet. The scarlet is used to work 

that portion of the flower 
indicated by the heavy black 
line shown in figure i57,attop 
of flower and following the 
outline. To woik: Begin 
at the base of the flower 
where it joins the stem and 
work upward toward the top 
of flower with Kensington 
stitch, working lengthwise. 
Use deep olive green rope 
silk for this part of the work ; 
when the base of flower has 
been solidly worked in Ken- 
sington stitch, work a few 
^^^- '57- stitches, up and down, with a 

shade of red filo floss. This will simulate the markings of red in the natural 
flower. Above this base begin the flower by covering the design with 
heavy French knots done with red zephyr. Between the knots sew down 
heavy strands of filo floss or rope silk, crossed like the letter X; cut each 
strand about one and one-quarter inches long. For one section of the X 
use the deepest shade of silk; for the other section the shade next lighter, 
and for the dark line shown in figure 157 use the scarlet silk, as before 







RAISED EMBROIDERY. 165 

described. When the plush stitch is completed it should be clipped and 
shaved evenly with a pair of sharp shears, after which the silk should be 
brushed with a comb or whisk broom. This will untwist the silk, which 
will lie fluffy and soft as the real flower itself. 

SUMAC. 

The foliage and bobs of the sumac are beautiful worked in autumn 
shades. The leaves and foliage should of course be worked with filo floss 
or Royal floss in solid Kensington stitches, using for the purpose dead 
yellows, deep crimsons, golden browns, orange, wood browns, and the 
bronze greens and browns; no two leaves need be shaded alike, and the 
effect of the entire foliage when worked should be a mass of royal coloring. 
The bobs are usually worked with raised effect in No. 2 chenille, using for 
the purpose the three deepest shades of yellow reds. To work the bobs: 
Begin at the top of the bob with the lightest shade, bring the needle to the 
surface of the material at the top and put it back to the wrong side again, 
close to where it came up, and pull it through until all the chenille has been 
drawn down, except a loop about one-half of an inch high; continue the 
operation to the base, working in the deeper shades, until the darkest has 
been used. Place the loops close together over the surface of the design, 
so that the bob presents a mass of color from light to dark. No shaving 
or clipping will here be necessary. Another method of working this 
flower is to cover its surface with French knots of chenille, or rope silk, 
though the loops are by far the most effective. A beautiful combination 
would be a spray of goldenrod and sumac bobs, with foliage. This com- 
bination would make a beautiful banner or easel piece — or coxcomb, sumac, 
golden rod and thistles gracefully arranged and worked with raised effect, 
would be still more beautiful. 

THISTLES. 

Thistles are easily adapted for raised effects, and in combination with 
golden rod, or even used alone, they are always pleasing to the eye. The 
materials for making raised thistles are: one skein green zephyr, two skeins 
deep olive green etching silk, one skein silver green etching silk and three 
skeins of heliotrope filo floss. Do not make the mistake of using lavender 
shades — the proper shade being a reddish purple, which is admirably 



1 66 



DAINTY WORK FOR PLEASURE AND PROFIT. 




imitated in that line of silks known as heliotrope. To work: Begin with 

the base of the thistle, cut the skein of green zephyr, and wine' four or five 

strands over the thumb and first finger. Place the tip of the thumb on the 

bottom part of the base of thistle and the 
forefinger on the top of base, and slip the 
zephyr off, catching it into position by a 
stitch at top and bottom. This forms the 
padding that raises the base of thistle. 

^^W^Xi'^ /^ |\ .1^/^ With the darkest shade of green etching 

i^^\ ir lu/y ^:x^^ > silk, work over this zephyr, taking a 

''^■^^r?^:, satin stitch from top to bottom of base, 

*■ until the zephyr foundation is entirely 

covered with the silk; now repeat this 

silk covering by working crosswise of 

the base. Begin in the center of the base 

and work over and over to the top; 

place the needle in the center of base and work to the bottom of thistle 

base. After this has been done, so that the base presents the appearance 

of an oblong ball, of 

one solid even mass of 

stitches, mesh it off into 

small diamond-shaped 

spaces, with the skein 

of silver green silk. 

This completes the 

base of thistle, and if 

the work has been well 

done, a real thistle 

would find it hard to 

detect the fraud. To 

work the top of flower. 

Fill a semi-circle around dksign for flat work. fig. 159. 

the top of base with French knots, made out of green zephyr; fill in be- 
tween these with heliotrope silks in plush stitch, in the sane manner as 

described for coxcomb, using the very lightest shade at the top of flower. 




RAISED EMBROIDERY. 



i6 



Carry out from the edge of the plush stitches a few simple straight stitches 
with one strand of silk. Shear off the uneven ends of silk and whip or 
comb out the flowers. This method gives the most natural effect of any 
employed, for making raised thistles. 

RAISED SNOWBALLS. 

Snowballs for ornamenting banners, corners of mirror frames, etc., are 
very effective and simple of construction. The background should be 
either plush or velvet of a rich dark color — as blue, red or green. For 
working the foliage five 
shades of olive green arra- 
sene, from light to dark, 
will be needed; work in 
solid Kensington stitch. 
In stamping the design 
transfer only the foliage 
and stems, as advised for 
the lilies. To make the 
snowball will require a 
small piece of cheese cloth 
or scrim, six skeins of 
white arrasene, a skein of 
palest green arrasene, a 
knot of pale green zephyr 
and a piece of cotton 
wool. To work: On the 

scrim or cheese cloth draw fig. i6o. 

a circle, using the top of a small-sized tumbler or water glass for a pattern; 
stretch the cloth firmly in a pair of small embroidery hoops and with the 
green zephyr work across the circle until the surface has been completely 
covered; over this prepared surface the white arrasene is to be put, and the 
method of doing this part of the work is identical with that described for 
making sumac, viz.: Commence at one side of circle; bring the needle, 
threaded with white arrasene, from the back of work to the surface and put 
down close to where it came up and pull through to the back, leaving a 
loop from one-half to three-quarters of an inch high on the right side; 




i68 DAINTY WORK FOR PLEASURE AND PROFIT. 

repeat this until the surface is thickly and solidly covered with these white 
loops; be careful not to arrange the loops so that they shall appear set in 
any particular direction, but so that they shall present a light, feathery sur- 
face. After this part of the work has been done, take the cloth from the 
frame and cut out the worked circle, leaving a margin of about one-six- 
teenth of an inch; turn this margin under and run in a gathering thread. 
Do not pull the gathering thread tight, but just enough to curl the edges 
inwa-d; place the circle over the spot where the snowball is desired, and 
blind stitch it down, leaving a space of three inches at the point where it 
joins the stems. Into this space stuff the cotton wool, with the blunt end 
of the stilletto, until the snowball looks sufficiently raised, then sew down 
the space left and over it work in loops of the green arrasene. This will 
give the green cast observed at the base of snowballs. 

The above method of working is very simple, and when the flower 
becomes soiled it is but the work of a few moments to remove it and clean 
in a dish of dry flour, when it can be replaced as good as new. 

Snowballs are sometimes worked by putting heavy French knots of 
chenille over the surface, and sometimes plush stitch is employed, using 
filo floss to work with, but neither of these methods can compare in beauty 
with the one first given. 

RAISED PANSIES. 

For small banners, ornamental covers for toilet cushions and for the cor- 
ners of small satin-covered photograph frames these flowers make beautiful 
ornaments. The leaves and stems should first be worked on the foundation 
with the finest chenille. No. i, in olive green, using Kensington stitch. 

To work the pansy, select a perforated pansy pattern, and stamp a 
flower on stiff paper. From this cut out each petal separately and dupli- 
cate each one from fine screen wire by the pattern thus obtained. Work 
them with four or five shades of lavender chenille No. i, in Kensington 
stitch, putting in a few stitches of yellow chenille at the base of each petal. 
After all the petals are worked, arrange them on the foundation with invis- 
ible stitches, and curl the petals gracefully with the fingers; in the very 
center put in a French knot of the lightest shade of lavender. A cluster of 
pansies on a white satin banner, made in this way, is beautiful. For 
method of placing the petals, study one of the flowers in the perforated 



RAISED EMBROIDERY. 169 

design. It is better not to attempt a too elaborate design — one or three 
pansies at most will be sufficient for any small article, and these flowers 
would not be suitable for large pieces. Both sides of the petals must be 
worked alike, as described for calla lily. 

A toilet set of white satin, the mats of which are embroidered with 
pansies in filo floss, with Kensington stitch, and the cushion and bottles 
having a cluster of raised pansies, the whole finished with fine white lace, 
would make a wedding present that would delight the heart of any bride. 

RAISED FRUIT. 

Raised fruit may be used for panels for dining room or for over-mantel 
hangings, though, as a rule, it is not as effective as flowers. 

Cherries. 

A branch of cherries raised on a black velvet ground will make a very 
pretty placque ornament. To work: Stamp the design upon the velvet, 
cherries as well as foliage. Work the latter with silk, in Kensington stitch. 
Over each stamped cherry fasten a tiny ball of cotton wool roiled into the 
shape of a cherry, but a little smaller than the fruit should be when finished. 
Over this cotton work from the stem to the end of cherry with a strand of 
fine red chenille. Work these stitches until the cotton is completely cov- 
ered, being careful to preserve the outlines perfectly. Some of the cherries 
may be made of a deeper red than others, thus giving a pleasing variety to 
the coloring. 

Raised Oranges. 

A panel of raised oranges, worked on a deep green velvet panel, will 
make a very beautiful over-mantel hanging for dining room. To work the 
oranges, two or three shades of golden yellow chenille No. 2, shades corre- 
sponding with 1263, 1264 and 1265 of the Belding silks will be correct for 
this work. 

Stamp the entire design upon the material, and work the stems and 
foliage with olive green arrasene, using about three shades of arrasene for 
this part of the work. Over the stamped oranges place a ball of cotton 
wool and fasten with securing stitches. The ball of cotton is made by roll- 
ing the cotton in the hand until it assumes the desired shape. Over this 
cotton ball work the yellow chenille, from the point where it joins the stem 



170 DAINTY WORK FOR PLEASURE AND PROFIT. 

downward, until it reaches the blossom end. Work a little knot of bronze 
ejreen in the blossom end with filo floss. The stitch should be taken in a 
straight line, and the threads should lie evenly and not crowd each other. 
When it is desired to work oranges on table linen or other articles that 
must be laundered: (i) commence in the center and work around and out- 
ward in chain stitch, with yellow green etching silk; (2) work over the 
surface in three shades of filo floss, with Kensington stitch; (3) work over 
the surface with French knots, done with etching silk. For this style of 
work the foliage should be treated with outline or short and long stitch, 
in filo floss or Royal floss. 

Strawberries. 

Strawberries should be arranged with a suitable amount of foliage and 
a few blossoms, with one or two half-ripe berries and two or three fully 
ripe. Such a design thrown on white satin or black velvet is extremely 
effective. 

Work the blossoms with cream white filo floss, in Kensington stitch; 
fill the center with a yellow French knot. The leaves and stems may be 
worked with filo floss, in Kensington stitch, using olive green, three shades. 
For the half-ripe berries use silk of a brighter shade of red than that used 
in the ripe fruit. Cover the stamped strawberry with a piece of cotton 
pressed into the shape of the berry, and secure with stitches. Cover this 
with filo floss of a true strawberry red, working over it, from stem to end, 
until the cotton is covered, after which put in seed stitches over the berry 
in irregular order, with yellow-green filo floss. Be careful not to raise the 
berry unnaturally, but follow the outlines of the stamped design. This 
fruit may also be worked with fine chenille, or it may be worked in solid 
Kensington, flat upon the surface of material, using either Royal floss or 
filo floss for the purpose. 

Grapes. 

Bunches of grapes, with foliage, make a beautiful design for panel. 
Stamp the entire design upon the fabric to be embroidered. Work the 
leaves and stems with bronze green and bronze brown arrasene. For the 
grapes, roll little balls of cotton, and catch down on each grape shown in 
the bunch, after which work over the cotton with chenille No. i, in the 



RAISED EMBROIDERY. 



171 



shade nearest like the variety of grape being copied. Deep purple grapes 
are the favorite for raised effects. Great care should be exercised to keep 
the form and outline of each grape perfect. 

COTTON PLANT. 

A cotton plant, with the ripe cotton bursting from the pod, is par- 
ticularly beautiful, arranged as a panel, or as an ornament for a wall pocket, 
and figure 161 shows a particularly graceful arrangement. 

The method of working is exceedingly simple 
and the materials quite inexpensive. The foliage 
and stems should be worked with solid Kensington 
stitch in arrasene, using bronze greens and bronze 
browns. The background should be of velvet or 
plush, of a deep rich shade, either blue, red or 
green. 

The cotton ball for the design is the only dif- 
ficult part of the work, and even this is simple 
enough, when one understands how it is done. 
To work: Cut out of pasteboard or stiff paper the 
pattern given in figure 162. It is given the exact 
size, so no allowance is to be made. Having cut the 
pattern, place it on a piece of brown canton flannel, 
and mark it around the outlines, with a red pencil, 
or a piece of chalk; remove the pattern and stretch 
the canton flannel in a pair of small embroidery 
hoops, stretching as tight as possible. Work over 
the pattern marked on the flannel in solid Kensing- 
ton stitch with arrasene, in dark and golden brown, 
and bronze green — a few stitches only of the latter 
shade — work solidly, putting in plenty of stitches, and do not take them of 
too great length; carry one shade into another. When this has been done, 
remove the hoops and cut around the pattern, leaving a quarter-inch mar- 
gin to turn down and hem with a running stitch, drawing the edges in 
slightly in the operation, so as to form a sort of bowl-shape receptacle for 
the cotton; now select a good sized piece of cotton wool that is free from 
dust or other specks, pull it apart until every fiber stands out distinct and 




FIG. 



172 DAINTY WORK FOR PLEASURE AND PROFIT. 



light as a feather, place it in the pod or bowl just made, and catch it to 
the point marked o, in figure 162, with an invisible stitch. Half close the 
bowlshaped pod over the wool, pulling a portion of the wool beyond 
the points of the pod, and //fjiVv spreading it out as seen in 

fio-ure 162. /ll IllMlllllV The entire effect de- 



pends upon the manipula- 
design shown at the be- 
perfect guide. The balls 
be sewn to the foundation 



tion of the wool, and the 
ginning of this article is a 
when completed should 
as indicated in the pat- 




ter n, t h o u g h they mi JIIIIIIJI'jjIjJIIMjjJII should not be stamped, as 
it would be dif^cult to ! 1 (/|((//|///iw//// cover the marks. 

The flowers of the \ \ \\\l\ III;! / cotton plant are a creamy 

white, shading to dull \l| llll I liy pink and should be raised 

a little by working over \[ \\j [y ^ padding of wool or 

crewel. This cotton \}li!l^ plant treated as a panel, 

and embroidered on fig. 162. rich blue or cardinal red 

plush or velvet, and framed with glass over it, makes a most effective and 
taking piece of needlework, for fairs and bazaars. 

THE DESIGNS AND INSTRUCTIONS 

For raised embroidery, given in this chapter, are not intended to exhaust 
the subject. Their province is rather to give practical help on specific 
articles of decorative work. It is needless to tell the woman of "ideas" 
that the instructions given for working raised pansies can be applied, with 
equal effect, to the working of single poppies, clematis, magnolias, and, in 
fact, any flower whose petals have simple outlines and unbroken surfaces. 



RAISED EMBROIDERY. 



173 



As before stated this form of work must be sparingly indulged in, and 
the proper place for its display should be well considered. 

All raised embroidery should be worked in a square frame, both hands 
should be used — one under and one over the frame. When the work is com- 
pleted it should receive a coat of thick mucilage on the back; this should 
be applied before removing from the frame and while the work is tightly 
stretched. This will secure ends of silk, etc., and give a smooth appear- 
ance to the article when finished. A most important point, and one that 
should never be forgotten, is to embroider all foliage and stems before the 
raised portion of design is commenced. 




174 DAINTY WORK FOR PLEASURE AND PROFIT. 




CARAFFE MAT. 



CHAPTER XII. 



DAINTY TRIFLES. 




HERE is always a demand from ladies for "ideas" on fancy 
work. They know how to embroider, but they do not know 
how to use the knowledge to advantage. Again, fairs, bazaars, 
Christmas gifts, birthday and wedding remembrances are 
always in order, and "something new" is eagerly sought for 
Having laid the foundation for a broad and systematic knowledge of deco- 
rative needlework in the preceding pages, we cannot do better service than 
to devote the present chapter to describing and illustrating a number of 
articles suitable for the purposes mentioned above. It is our experience 
that for fairs and bazaars, articles of useful ornament, made up inexpen- 
sively but showily, find quicker sale, and at comparatively better prices 
than articles of elaborate workmanship and expensive materials, while for 
birthday and wedding gifts the articles should be as daintily made as is 
possible for fingers to accomplish, and the best material of its kind should 
be employed. Thus, if the material be linen or lawn, a good quality should 
be purchased for the work; better far to make a smaller article, simpler in 
every way, than to cheapen the material. These gifts generally depend for 
their value upon the esteem in which the donor is held, therefore the 
best possible work should be done. Again, appropriateness to the occa- 
sion, to the age, condition and occupation of the recipient, should be 
considered. 

We have not confined the articles illustrated in this chapter to those 
requiring embroidery for their decoration, but have included those that are 
to be painted as well, also some that require no decoration whatever, the 
aim being to give a number of inexpensive articles that can be made up 
with little expense; and also to utilize the contents of the scrap basket 
as far as possible. Very few novelties, so called, have been included 



176 



DAINTY WORK FOR PLEASURE AND PROFIT. 



in the list; rather descriptions of articles that are always "in style," because 
always useful. The day has long gone by when a room was filled with a 
lot of useless, meaningless, dust-catching articles, called "fancy work." 
Nowadays, when an ornamental article is added to the furnishing of a room 
it must serve at least an ostensible purpose — in a word, it must have an 
excuse for its presence. 

Whenever articles are illustrated requiring painting in either oil or \\ater 
colors, specific instructions for this part of the work will be found in the 
chapter on "Brush and Palette." 

MEMORANDUM CARD CASE. 

These convenient racks make pretty remembrance gifts that have the 

merit of being useful as well as 
ornamental. To make: Cut a 
foundation of stiff cardboard 10 x 
16 inches; line this cardboard on 
the back with bronze brown leath- 
erette, which can be purchased at 
any art store for five cents per 
sheet. Line the front of the card- 
board with gray linen; over this 
again, put folds of the linen diag- 
onally from one edge to the other. 
These folds form receptacles for 
cards, one for each day in the 
week. The ornamentation may 
be done with either embroidery 
or painting. The model, figure 
163, has a cluster of forget-me- 
nots on the top and bottom, 
worked with two shades of old 
blue filo floss, in satin stitch. The 
^^'^^ ^"3- names of the days of the week are 

worked with outline stitch on the folds, with the same shade of silk, and 
the case is completed by bows of blue ribbon, disposed as shown in the 
illustration. The edges are bound with blue silk cord. 




DAINTY TRIFLES. 



177 



HANGING BOUQUET HOLDER. 

This novelty is designed to hold ferns, autumn leaves or pampas grass, 
and is made on a wire foundation, such as is used for making calla lilies. 
Cut the wire in shape and cover with 
soft cotton crepe, in pale blue or pink, 
or figured China silk may be used with 
good effect. Fold the whole in shape 
and secure with a few stitches. The wire 
gauze being stiff yet pliable, lends itself to 
any form of manipulation readily. Finish 
with a windmill bow, in harmonizing 
color, of soft ribbons. The wire is twenty 
cents a square foot. About two square 
feet will be needed, and one yard of the 
crepe or China silk. For bazaars or fairs 
this article would be attractive made up 
in a cheaper manner, as follows: Cut the 
shape out of pliable cardboard, cover with 
deep red crepe paper, fasten with a bow 
made of the same material. Fill with 
ferns and grasses. The crepe paper is 
beautiful, and exactly resembles expen- 
sive crepe. 

The illustration is but one of many 
ideas that can be worked out for wall 

pockets. Very pretty catch-alls can be fig. 164. 

made fron;i two palm leaf fans as follows: Cover one side of each fan with 
plain gray crash and gild the reverse side with liquid gold. On the gray 
crash any pretty design may be embroidered. Join the two fans together 
at the handle by means of a ribbon bow, and add a few stitches on the side. 

WRITING BOARD FOR INVALIDS. 

This article, figure 165, was designed for the use of invalids by a French 
lady, Madame Tignet, and will at once commend itself. The foundation is 
a light, plain board, 23^ x 155^ inches, covered with dark blue cloth — either 
denim or felt will answer. In the center is the blotting pad, held down at 




178 DAINTY WORK FOR PLEASURE AND PROFIT. 

each corner with triangular pieces of leather or cloth. The various pockets, 
intended to hold paper, envelopes, stamps, cards, etc., are fastened with 
buttons. A straight band of cloth, divided into compartments with small 
nails, holds the paper knife, pen holder, pencil and penknife. Next to th" 




FIG. 165. 

inkstand, held in place by a strap of leather or elastic, is a movable calen- 
dar, and on the opposite side is a penwiper and block note. 

For an invalid friend no more acceptable gift could be devised. The 
expense is but trifling, the value of the article being in the loving care and 
thoughtfulness that prompts the offering. 

FOOT STOOL. 

These little foot stools can be 
purchased in the rough for 50 cents 
each, and can be prettily decorated 
by means of a paint brush and a can 
of English enamel. One coat will be 
sufificient, and a pretty color will be 
old rose. The cushion is made of 
FIG. 166. India silk, to just fit the top of stool; 

a pale gray blue or gold color wiP harmonize with the old rose. The 




DAINTY TRIFLES. 



79 



cushion should be securely fastened to the corners of the stool to prevent 
slipping off. The filling of the cushion may be of sea moss or feathers, or, 
failing either of these, cotton wool will do nicely. 

PAPER STAND. 

This convenient paper stand is made of three bamboo rods, three box 
lids — either cheese or sugar-box covers are preferred — seven yards of two- 
inch ribbon and one bolt of very narrow ribbon. The bamboo rods are 
fastened to the box covers by means 
of fine wire threaded through holes 
bored into the covers and rods oppo- 
site each other. The places where 
fastened are concealed by the rib- 
bon bows. The bamboo rods are 
wound from top to bottom with the 
narrow ribbon, a piece of the two- 
inch being fastened around top and 
bottom of rods. The inside of lids 
are covered with egg-shell paper, 
upon which has been painted a de- 
sign in either oil or water colors; or, 
for those who do not paint, a very 
pretty substitute would be satin with 
floral design embroidered with the 
wash silks; the outside of rim can 
be painted with English enamel, or 
a band of embroidered ribbon can 
be fastened on with excellent effect. 
The colors to be used are a matter of ' ^ 

taste, but should harmonize with the fig. 167. 

furnishings of the room. If bamboo rods are not obtainable, the handles 
of worn-out brooms will do nicely, sawed off to the desired length; they 
should be either ebonized or gilded. If the stand is to serve as a paper 
holder in a sitting room, a good substitute for the satin or eggshell board 
would be linen crash, embroidered with linen floss. The design should 
be tiny flowers, scattered rather than arranged in any set design. 




i8o 



DAINTY WORK FOR PLEASURE AND PROFIT. 



SHOE BOX. 

We here give a design for a shoe box, which is ornamental as well as 
useful. An ordinary soap box will do for the foundation. It must have a 
cover fitted to it. Line the box inside with pale pink sateen, such as is 

used for dress linings; cover the out- 
side with pale blue sateen, and on this 
covering arrange flowers, as shown in 
figure 169; cut the flowers out of pale 
pink satin, using figure No. 168 as a 
FIG. 168. guide. Cut eight pieces like the 

pattern and fasten them on to the background, slightly wadding each 
petal. The middle of each flower is made in knot stitch with tinsel thread, 
and the broken lines are made of the same material. A cording outlines 





FIG. 169. 

the box and conceals the sewing. Any other combination of colors or 
ornamental design may be substituted, keeping in mind always that the 
article is to be inexpensive. 

SUNFLOWER CUSHION. 

This little cushion for the dresser is very simple and can be easily 
made. The material is India silk, fine lace, silk bolting, one skein filo 
tloss and one skein gold thread, and a small, round, soft cushion, not over 



DAINTY TRIFLES. 



I8l 



four inches in diameter. First, stamp on the bolting the sunflower design, 
which, by the way, is not a sunflower at all, but is a conventional form, hav- 
ing pointed leaves like that flower. Around the edge of this design sew 
on the lace; this will give a 
circular cover; outline all 
the leaves or points with 
gold thread and fill them 
with darning stitch. Outline 
the center with gold thread 
and check it off into squares, 
couched down at the intersec- 
tions. Any color of filo floss 
can be used for the embroi- 
dery — pink, yellow, brown, 
blue or green — but the silk 
lining must match in shade 
exactly. You are now ready 
to line the cover, which is 
done by cutting a circular 
piece of the silk the size of fig. 170. 

cover, lace edge included, and tacking lightly to the Outside cover; pink 
the edge of silk all around. The cover, lining and all, is now fastened to 
the top of the cushion by tacking each point of leaf to the cushion proper; 
this gives the fluffy, full appearance of the flounced edge. Usually a dresser 
scarf is made to match these little cushions. Our design shows both scarf 
and cushion, the same design being used for both. The model was embroi- 
dered with gold filo floss, on white silk bolting, and lined with gold India silk. 

WORK BASKET. 

Figure 171 illustrates a collapsible work basket. This little basket, 
fitted with every convenience, will be especially appreciated by a lady who 
is visiting or traveling much. Four pieces, 9x9 inches at the top and 53^x 
S}4 at the bottom, form the sides, and one piece 5^x5^ the bottom. 
These pieces should be cut from pliable cardboard, not too stiff, and 
covered on the outside with gray crash or linen, or pongee silk in natural 




i82 DAINTY WORK FOR PLEASURE AND PROFIT. 




shade; these pieces can be embellished with a graceful design, worked out 
with Real Scotch linen flourishing thread No. 8, in pink or red, with wood 

browns; the inside should 
be lined with pink silk, 
and the edges overhanded 
with silk to match; the 
bottom is covered in the 
same manner. The bot- 
tom edge of each side 
piece is then fastened to 
the bottom piece firmly, 
but the sides are not sewn 
together, only fastened at 
the top with bows of rib- 
bon; a handle of card- 
board, covered to match 
the basket, is fastened at 
the sides with bows, in a 
removable manner. When necessary to pack the basket, remove the han- 
dle, untie the bows fastening the side pieces at top, and fold the sides in, 
one over the other. This forms a neat, flat package that can be packed 
anywhere without injury. There should be two long, rather deep, pockets 
on opposite sides of the basket, on the inside, for spools, buttons, etc.; also 
on one end a neat needlebook, on the other a tiny square cushion, all of 
pink silk, and fastened securely. An acceptable gift for any occasion. 



HAIR PIN HOLDER. 

Figure 172 is a small hair pin holder, the 
foundation of which is a tiny Japanese circular 
basket. Fastened on the inside of the opening 
are several pieces of narrow pink ribbon, on the 
ends of which are fastened small brass rings, 
crochetted over with pink etching silk. These 
ribbons are allowed to drop over the outside of 



FIG. 171. 




FIG. 172. 



basket, as shown in cut, and form a pretty finish; the top opening is then 



DAINTY TRIFLES. 



183 



filled in with pink zephyr in tuft stitch; this is to receive the hair pins. The 
cost should not exceed fifteen cents. 




TWO SMALL CUSHIONS. 

These small toilet cushions can be made so daintily, ornamented with 
so little expense attached, that it is a real pleasure to write about them 
Two or three of these on a 
dresser are much more con- 
venient than one large mag- 
nificent affair that looks 
altogether too grand for 
mortal use. The model 
shown in figure 173 may be 
made of any color to suit 
the room or the fancy of 
the maker; but the puffed 
cover should be of soft 
silk, India or China, and 

the square in the center fig. 173. 

should be of wash material. The model was a cushion three inches square, 
covered with pale blue China silk; the center piece was a square of fine 

linen lawn, embroidered with fancy filling 

stitches. As will be seen, the silk is cut 

IM^% ' fe=^^ larger than the cushion, and all the spare 

fullness is gathered into pompoms at the 
corners. The center square offers room 
for a variety of decorative work, and it is 
a good idea to have several of the centers 
for each cushion. Some may be worked 
with Roman embroidery, some with Dres- 
den designs, and others may be covered 
with drawn work. 
^^^'" '""^' Figure 174 is a tiny round cushion, 

covered top and bottom with a plain white linen cover, embroidered with 
wreath of wood violets in natural shades. The covers are placed in posi- 




i84 



DAINTY WORK FOR PLEASURE AND PROFIT. 



tion and laced together with a white silk cord over a puffing of lavender 
silk. The materials required for these dainty trifles are mere scraps from 
one's piece bag, and they will make most acceptable gifts for any occasion, 
at little expense. 

CHAIR BACK AND SEAT. 

Figures 175 and 176 show design for back and seat of chair. The 

material is a deep silver green Russian tapestry, and the design a spray of 

poppies. Treatment: 
Work the stems with No. 
1334, the leaves with Nos. 
1330. ^331 ^"ci 1332 silver 
gray green; the flower 
petals with Nos. 1209, 12 10, 
121 1 and 121 3; the centers 
of poppies with Nos. 1263 
and 1278 rope silk. Use 
solid Kensington stitch for 
the entire design. Work 
the fancy stitches around 
edge of chair with No. 
1263, with the exception 
pjQ i-,r of the three short stitches 

at intersection of diamond-shaped spaces; for these use No. 1209. The 

treatment is, of course, the 

same for seat and back, and 

filo floss should be used 

throughout. Of course, any 

other combination may be 

made to suit individual 

taste. The size of seat is 

15x19; of back, 10x15. 

The same pattern can 

be worked with other mate- 
rials, as deep brown mail cloth embroidered in solid Kensington stitch with 

two or three shades of golden brown filo floss. 





DAINTY TRIFLES. 



185 




LAMP SHADE. 

The lamp shade shown in figure 177 is made of tissue paper in three 
shades of old rose. The paper is first creased by folding back and forth in 
small plaits and then drawing several times 
through the hands, or it can be purchased 
ready for use, but is more expensive that way. 
Place the three shades of paper, one over the 
other, the lightest shade first, the medium 
shade next, and for the outside the darkest 
shade. Gather the paper at the top to fit the 
neck of a wire foundation, which in turn is 
made to fit the top of a lamp chimney; fasten 
securely, and then drape up the outside layer 
as shown in illustration. The wire foundations fi^j- i77- 

can be purchased for twenty cents, and any color paper to suit furnishings 
of rooms can be used in place of the old rose, 

WALL POCKET. 

A convenient wall pocket for newspapers is shown in figure 178. Heavy 

pasteboard i s used for the 
'I '':;5^>'^S'I foundation; the dimensions of 



/the piece are 15 by 25 inches. 
The pasteboard should be cov- 
ered on both sides with gray 
canvas or ecru linen; on that 
portion of the material that 
forms the pocket stamp a frieze 
of carnations; work the design 
with Real Scotch linen floss in 
the shades of red and olive 
greens. In covering the paste- 
board with the linen the edges 
must be neatly turned in and 
overhanded together; the finish 
is made more complete by sew- 
The lower part is then turned 




FIG. 178. 

ing on the edges a row of Tyrol cord. 



li 



DAINTY WORK FOR PLEASURE AND PROFIT. 




over and sewed on the back as here indicated. Brass rings are sewed 
on the corners to hang it up by. Bows of ribbon, the darkest shade of red 
used in the carnations, are placed on each corner. 

BOLSTER AND PILLOW. 
A bolster covered with white linen lawn is here shown. For a summer 

bed nothi n g 
cooler or more 
inviting could 
b e imagined. 
The ends are 
trimmed with 

"' ^iQ 170, wash lace and 

bows of ribbon. Over the surface a design of very small daisies or carna- 
tions may be scattered and 
worked in short and long 
stitch with filo floss. The 
work must be light in effect 
and daintily executed. 

The infant's pillow 
illustrated in figure 180 is a 
dainty affair, and consists 
of a square of fine shirt 
linen, around which is sewn 
a border of lace; the square pjq j3q_ 

is then folded once in the middle and the edges sewn together and deco- 
rated with ribbon bows of any color desired. It can be removed when 
necessary to launder. A pretty design for ornamenting would be an 
arrangement of buttercups and daisies done with filo floss. 

HANDKERCHIEF HOLDER. 

Figures 181 and 182 show this little case in process of construction 
and completed, so that by studying them carefully the holder can very 
easily be duplicated. 

Before commencing operations on the material to be used, it will be 
well to take a piece of white or light paper, twelve inches square, and pen- 
cil line it like figure iSi. F'irst, fold the sides marked i, straightening out 




DAINTY TRIFLES. 



187 



each before folding the next. Then turn the paper over and fold across 

cornervvise, like lines marked 2. Now turn the paper back again, first side 

up and fold in the sides ac- 
cording to creases, and fold 

the corners marked 3 back. 
This will give a perfect 

guide for the folding of the 

case, without experimenting 

on the goods, which would 

show a misfold beyond re- 
pair. To make the case will 

require a piece of satin of 

pale cream twelve inches 

square, a lining piece, same 

size, of shrimp pink, and 

an intervening lining of 

stiffening — crinoline will do 

nicely. Place these together 

squarely and evenly; finish the edges with gold and pink silk cord and pro- 
ceed to fold like the paper 
pattern previously prepared. 
This will make a simple 
and inexpensive gift for 
friends, and but little time is 
required for the making, as 
no embroidery or painting is 
needed. 

One-third of a yard of 
satin, twenty-four inches 
wide, and a like amount for 
the Lining, will make two 
cases at an expense of sixty- 
six cents; two and two-thirds 
^'^- ^^-- yards silk cord, at eight cents 

per yard, will bring the cost to about ninety cents for the two. 





i88 



DAINIY WORK FOR PLEASURE AND PROFIT. 




FIG. 183. 



PHOTOGRAPH OR CALENDAR CASE. 

These cases are convenient for holding photographs and calendars, and 
are, beside, an ornament for mantel, table or bracket that will be appreci- 
ated by ladies who are interested in home decoration; also, they are 
always rapid sellers at fairs and bazaars, and make acceptable wedding, 

birthday or Christmas gifts. The two-panel de- 
sign shown in figure 183 is made of egg-shell 
board or linen canvas for the outside, and stiff 
cardboard lined with gray linen for the back. 
Egg-shell board is a stiff cardboard, having a 
crinkled enameled surface, and comes in cream, 
ecru, brown and old rose. A leaf from an old 
album will furnish a pattern to cut the panels by. 
Out of the egg-shell board or linen canvas cut two panels, each having an 
<^pening for the photograph, and out of the cardboard cut two pieces the 
?ame size, for a back to the panel. If linen canvas instead of egg-shell 
board is used for the front panel, then it must be first pasted smoothly over 
cardboard. Cover the two pieces that are to serve as backs for the panels 
with gray linen, on the outside turning the edges in on the inside of panel 
and gluing them down. When the front and back pieces are ready, place 
them one over the other and oversew the edges together with art cord. 
Join the two panels by oversewing down the back with art cord. 

If the panels are covered with the linen canvas, 
they may first be beautifully decorated with needle- 
work. The design should be worked before the cov- 
ering is put on. Floral designs are best suited for this 
purpose, and may be worked solid or in outline, with 
silk or linen floss, in na'tural colors or in conventional 
shading. Brown silk floss on cream white duck is 
artistic to a degree, as is also pale gold, sage green, 
deepest shade, or old blue. If the egg-shell board is 
used, it may be decorated with a design painted in oil or water colors, for 
which directions may be found in the chapter on "Brush and Palette." 

Figure 184 shows a calendar case, made in same manner as described 
above, only in this case but one panel is used and it is covered with cellu- 




DAINTY TRIFLES. 



189 



loid, instead of the opening being cut entirely away it is rolled up. 

This material may also be decorated with either oil or water colors. A 

prmted calendar should fill the opening, being pasted in the opening on the 

back panel. 

NIGHT DRESS SACHET. 

This pretty sachet is made of white silk bolting lined with pale pink 
satin. The lining is quilted and cov- 
ered on the reverse side with blue satin. 
The sachet is edged with a double frill 
of lace, and finished with bows of blue 
and pink ribbon. The silk bolting 
cover is decorated with a spray of Mar- 
guerites and rose buds, done with filo 
floss. Twenty-four inches of bolting 
and the same amount of blue and pink 
satin for lining, and one sheet of wad- 
ding, with five yards of ribbon for 
bows, will be required, together with 
one-half dozen skeins of pink, yellow 
and green filo floss — two skeins of 
each. 

The shade may be used to make up 
other materials and colors by, and the 
outside cover may have a design paint- 
ed instead of embroidered. 




FIG. 185. 




PANSY SACHET. 

This pansy sachet is a charming little 
gift, and can be made of a bit of gold or 
rose-colored silk three inches square. Cut 
out the leaves separately, a little larger 
than the outlines shown in the illustration, 
using pattern of pansy petal given on 
page 138, for this purpose; line each 
petal with pink satin, lightly wadding the 
space between the lining and outside with 
perfumed cotton. The lines on the petals may be made with a pen and 



FIG. I 



IQO 



DAINTY WORK FOR PLEASURE AND PRObTT. 



violet ink. Arrange the petals so that they fall easily over each other, as 
in the illustration, and sew a scrap of yellow silk bunched up in the center, 
and next to this irregular clippings of brown or purple velvet. 



PUFF CUSHION FOR HEAD REST. 

Soft, puffy cushions, circular in shape and made of India silk, make 
delightfully comfortable head rests. Figure 187 shows a very simple man- 
ner of makmg. Cut a circle, 
the size of a dinner plate, from 
cotton batting — not wadding 
— and cover with old rose 
India silk, as follows: Cut a 
square of the silk as large as 
the width of silk will allow, 
place the batting in the cen- 




FIG. 187. 



ter of the square and bring the four corners over to the center of top of 
wadding. Arrange the fullness into puffs, from center to circumference, by 
catching here and there with a stitch; over the top of this cushion fasten a 
large leaf or flower, cut from linen lawn or other wash fabric; work this with 
filo floss, in short and long buttonhole stitch, around the edges, and cut the 
material close to buttonhole edge. This piece can be easily removed for 
cleaning, and the entire arrangement is light and dainty. 

DECORATED EGG SHELL. 

The illustration clearly shows the idea. Care should 
be taken in breaking off the top of the shell not to make 
unsightly cracks and checks; a very sharp pair of scissors 
will obviate this difficulty. The wire standard can be 
made easily. Procure the wire at any hardware store, 
bend it into shape and twist around it a lighter wire to 
keep in shape. They can be painted in water colors or 
^ oils, and are dainty trifles for the mantel, and can be 
made to serve as unique vases by filling the shell with a 
"^"'- '"'^- piece of moistened sponge over which has been thickly 

strewn grass seed. 




DAINTY TRIFLES. 



191 



PANSY SACHET. 

A pretty trifle for toilet table is a pansy sachet, made as follows: Take 
a piece of cotton batting and roll it into a ball about the size of an egg, and 
sprinkle with sachet powder; cut from pale yellow tissue paper a square 
large enough to cover the 
ball and leave enough at top 
to form pansy petals i}4 in- 
ches deep. After the square 
is cut, fold the paper back 
and forth into small plaits, 
like a paper fan, and then 
draw it through the hand sev- 
eral times; when unfolded it 
will present a soft, crepy sur- 
face; place the ball in the 
center of this and fold the 
paper to top of ball and tie 
closely with hair wire. Slash 
the paper that is left above 
the wire into four equal parts 
and round the edges; cut one more petal from'an extra piece of paper and 
mucilage it under and between two of the petals left on the bag. This 
forms a perfect pansy top to the ball, and the illusion is completed by paint- 
ing each petal slightly with oil colors in pansy shades. This inexpensive 
trifle can be easily duplicated from the illustration. 

MENDING BAG. 

This simple and inexpensive mending bag 
would be a gift that would delight the heart of 
the busy housewife at any time. To make: Cut 
three pieces of cardboard, as follows: Two 
pieces for front and back, each ii xg inches at 
the top and narrowed to j}4 inches at the bot- 
tom; one piece 35^x7^ for the bottom. Line 
these three pieces on both sides with plain 
sateen, pink, blue or brown, and join them together by overhand seams on 




FIG. i{ 




192 DAINTY WORK FOR PLEASURE AND PROFIT. 

the inside of bag. To make the accordion plaited ends, hem across the top 
a piece of cretonne 13x21 inches, and gather it at the bottom to fit the 
narrow end of the bottom piece of bag, to which it must be fastened. Sew 
the sides of the cretonne, which have been reduced to eleven inches by the 
hem across the top and the gathering at the bottom, to the sides of the 
front and back. This finishes one end of bag; the other must be treated in 
the same manner. 

Across the inside of the back piece is placed a full pocket, eight inches 
deep, to hold balls, spools, etc. The top is finished with a shirring for an 
elastic band beneath a narrow standing ruffle. Above the pocket are tacked 
flannel needle leaves and scissors straps. Sometimes an interlining of 
wadding is placed beneath the inner cover of the back piece, and the whole 
used as needle-book or pin-cushion. Sometimes the pocket is omitted and 
a third piece, just like the front and back, is fitted in between the two to 
divide the bag into two equal or unequal compartments. 

Small brass or silvered rings — or homemade ones of wound wire, cov- 
ered with knitting silk or floss in closely worked double crochet — are sewed 
to each upper corner of the front and back, and three more are sewed cross- 
wise to the hem of each side piece — one in the middle and one four inches 
from each corner ring. 

A narrow stitched band of the plain sateen is run through the rings, 
and the ends are neatly joined. This forms the means of suspension, and 
also allows the bag to be opened easily and widely when in use. The lettering 
is worked with silk or floss in colors to match the figures in the side pieces. 

HOLDERS. 

These little articles do not find their field 
of usefulness bounded by the kitchen walls. 
They are quite frequently to be met with in the 
sitting room, in the library or living room, and 
sometimes in the parlor — but always in Sunday 
best, it must be confessed. Seriously, a good 
supply of holders, for various uses, are most 
convenient, and they may be made quite orna- 
'^ ' mental with little trouble. Our model, figure 

191, is made of a square of dark brown felt, cut from an old felt hat that 




DAINTY TRIFLES. 



193 



had been discarded. The edges are bound with a narrow red silk ribbon 
and ornamented with satin stitch in red etching silk. The letters forming 
the words are made in outline stitch with the etching silk. A loop of rib- 
bon is added to hang it up by. These holders may be made of a variety of 
materials. Those used about the table should be made of two pieces of 
white canvas or linen, lined with sheet wadding on each side. Work one 
simple design in the corner; buttonhole the edge with linen floss. The 
merest scraps serve to make them. 

Where it is necessary to make a large number of Christmas remem- 
brances these inexpensive articles will serve for many of them. Of course,, 
one would naturally make up ornamental holders for this purpose, rather 
than those for kitchen use, though even these would prove acceptable tG 
many a busy housewife. A good material is colored Hollywood drapery 
or the cream white if preferred. 

PAPER HOLDER. 

A piece of pasteboard, about 18x22 inches, is used for the back found- 
ation. This is covered with 
garnet satin and deco- 
rated with brocaded rib- 
bon of a lemon yellow; the 
front is made of garnet 
satin, lined with lemon 
yellow, and is slightly ^ 
rolled back to show a 
portion of lining (see fig- 
ure 192). Between the 
outside and lining put a 
stiff piece of buckram. 
On the front stamp a 
spray of yellow Marguer- ^^^- ^92- 

ites; work with filo floss, Nos. 1262, 1263 and 1264, using brown for the cen- 
ters. For the leaves use the olive green. 

These holders are useful as well as ornamental, and may be made of a 
variety of materials. If satin and silk are too expensive, celluloid or egg- 
shell board may be used, in which case the design must be painted. 





194 DAINTY WORK FOR PLEASURE AND PROFIT. 

HANDKERCHIEF SACHET. 

The illustration shows a handkerchief sachet made of cream white 
plush lined with quilted blush rose satin. The edges are bound with silver 

cord, and bows of 
pale pink ribbon join 
the back edges to- 
gether and ornament 
the front edge of 
sachet. The design 
is a cluster of double 
ribbon roses and 
buds with stems and 
foliage in chenille. 
The roses are made 
of pale pink faille 
FIG. 193. ribbon. For direc- 

tions for making see "Double Ribbon Roses," in Chapter XI. Dimensions 
of sachet are 12x16 inches. The design may be embroidered in solid Ken- 
sington stitch in Royal floss if preferred. 

FANCY TABLE. 

This dainty little table is at once useful and inexpensive, and best of 
all, easily made at home. The material need be nothing better than com- 
mon pine, two pieces for top and shelf, 24x24 
inches, one inch thick, and four pieces two-inch 
stuff for legs. The top, shelf and legs can be 
covered with art linen in yellow brown, old blue 
or shrimp pink, or the whole can be treated to a 
coat of English enamel, any color desired. The 
enamel is 40 cents a jar, and one jar will do con- 
siderable decorating. If the linen is used as a 
cover, a pretty decoration would be an all-over 
Roman embroidery design stamped on the cover 
and worked out with white linen floss. Instead fig. 194. 

of cutting away the ground from back of the lace lines it would be better 
for this purpose to outline them directly on the material. 




DAINTY TRIFLES. 
SUNFLOWER PENWIPE. 



195 




Stamp on chamois skin any one of the many pretty sunflower patterns 

that can be had for five cents, 

and paint the petals with 

chrome yellow and burnt 

umber; cut the flower shape 

out, and finish center by 

putting in a circle of brown 

plush over a padding of 

wadding. This makes a use- 
ful as well as ornamental 

adjunct for the writing table. 
The same design may 

be made from yellow flannel 

or felt for the petals and 

brown velvet for the center. 

To make from these materials 

it will be better to cut the fig. 195. 

center from cardboard; cover it with the velvet, cut the petals out of the 

felt and fasten on to the back edge of center. This is a little more work 

than the first mentioned method. 

SOFA CUSHION. 
In figures 196, 197 and 198 we show three very comfortable as well as 

pretty sofa cushions. These particular cush- 
ions are not designed to repose in state, at a 
most uncomfortable angle on the best sofa 
in the best room. They are for everyday 
use; and, as comfort has been considered, the 
cushion proper has been made nearly square 
and lightly filled with feathers or hair. It is 
a great mistake to stuff a sofa cushion until 
it resembles a small mountain; it should be 
just high enough to fill the space between 
the head and shoulders. As has before 

been stated the cover for cushions that are to be used should be made of 




196 



DAINTY WORK FOR PLEASURE AND PROFIT. 




wash fabrics. Figure 196 is made on ecru twilled linen and the design 
shown is worked in outline stitch with three shades of wood brown linen 

floss; a bow of brown ribbon 
finishes one edge. This is a 
very beautiful design, and am- 
ply repays all the work one 
chooses to put on it. 

The cover for figure 197 is 
made of white linen having a 
border all around treated with 
drawn work; the center is em- 
broidered with a set figure in 
white linen floss. The under 
cover is of the same material, 
without the decorative work, 
KiG. 197. however; the upper and under 

covers are laced together around the four sides and fastened at the corners. 

Figure 198 shows a round cushion 
for sewing chair. The cushion is first 
made of unbleached cotton or cotton 
twill, and for comfort, filled with feath- 
ers; do not stuff it too full. Put on an 
outside cover of old blue tapestry linen, 
blind sewing the edges; fasten to the 
chair by means of straps on the under 
side caught to the seat; over the cush- 
ion fasten an embroidered cover of 
white linen edged with lace or drawn 
work. The design shown in illustration 
is powdered forget-me-nots worked fig. i 

with old blue filo floss in satin stitch with a center of yellow French knots 




FANCY WORK BASKET. 

The basket shown here is eggshape. The best way in which to prepare 
the foundation is to cut an oblong circle out of heavy straw board, wet it 



DAINTY TRIFLES. 



197 




thoroughly in cold water and roll up in the form of an egg; leave an opening 
to the side from end to end; secure in position with a string. Let it become 
quite dry, when it will retain its shape without trouble; prepare a lining of 
silk for the inside, which should be wadded lightly and quilted, fasten this 
in the inside of the pre- 



pared shape. For the 

outside cut a circle out 

of cream satin the same 

shape as the foundation, ^ 

, ^ 4 

stamp on it a cluster or M 

pansies, work with wash ^^(' 

n 
filo floss in numbers :c 

1300, 1 30 1, 1302 with a 
dash of 1260, 1264; for 
the leaves and stems use ^^'^- ''» 

numbers 1248, 1249, 125 1. Stretch this cover over the shape, being careful 
not to leave any wrinkles; finish the opening with a frill of soft lace and 
ornament each end with bows of ribbon in two shades of numbers 1300 and 

1301. The effect of this little trifle depends upon the neatness with which 
it is made. It should look light and dainty and not in the least useful, and, 
of course, is better adapted for fairs and bazaars, where it will be certain to 
attract purchasers, than for sober everyday use. Made of more durable 
materials they are useful catchalls for the dressing table. 

FOOT CUSHION. 

Small cushions are much used in place of foot stools. The model 

shown in figure 200 is made of chamois 
skin. The cushion should be first 
made, and then covered on top only 
with the chamois cover. The design 
should be worked out with golden and 
bronze brown Royal floss and the sec- 
tions should be defined by sewing on 
FIG. 200. flat gold braid. The ends and one 

edge of cushion should have a row of narrow gold fringe, and bullion 

tassC'S should finish the four corners. 




198 DAINTY WORK FOR PLEASURE AND PROFIT. 




OTTOMAN CUSHION. 

Round cushions for ottomans and foot-rests are always useful orna- 
ments, and the two designs given in figures 201 and 202 are among the 

prettiest we have seen. Figure 
201 is covered with Roman 
embroidered cover, and the 
cover for figure 202 is treated 
with applique. The cushions 
can be purchased stuffed, ready 
for covering, for 75 cents each; 
however, if one prefers to do 
this part of the work at home, 
two circular pieces, the size the 
cushion is desired, should be 
FIG. 201. cut from heavy twilled cotton 

and a bias strip, four to six inches wide, should be sewed around the cir- 
cumference of one of the circles, the other circle should be sewed to the 
other edge of the strip, leaving an opening for stuffing. When the cushion 
is designed for a foot-rest, excelsior will be found a good stuffing; if for a 
seat to an ottoman, then feath- 
ers or hair will be more com- 
fortable. After the cushion is 
made, the bias piece forming 
the sides of the cushion should 
be covered with a very full puff 
of China silk. The silk must 
be sewed to the cushion itself, 
as it is entirely distinct from 
the covers. For the covers cut 
two circles, the size of top of 
cushion from ecru linen; on one 
of these linen covers stamp a ^"^'- -°-- 

Roman embroidery design and work it with brown or white linen floss. 
Do not cut the material away from the background unless it is intended to 
line the cover with silk, but outline the lace stitches instead of carrying across 




DAINTY TRIFLES. 



199 



from one outline to another. On the under cover work a row of buttonhole 
stitches, and at equal distances apart sew to the edges of both covers brass 
rings which have been crocheted over with the linen floss. Place the cush- 
ion in the center of the bottom cover,^and over it put the top cover; lace 
them together over the cushion with heavy silk cord. 

The cover for figure 202 is made of deep blue mail cloth on which is 
arranged a design of poppies, cut out of white ooze leather. Select any 
design having full blown poppies in one or two positions; stamp them on 
the leather, cut out with a pair of sharp scissors and glue to the foundation. 
When the design is in position, outline all the edges of the poppies with 
gold cord or bullion. Fill the center with French knots made of gold 
thread, and for the scrolls couch down white couching silk with geld thread. 
The puffs should be white India silk and the covers should be laced 
together with gold cord. 

These two cushions are very desirable for church fairs, etc. Of course 
the cushion maybe made of other materials and combination of colors, and 
decorated to suit individual taste. 

SHAVING PAPER CASE. 

This little trifle is made of two pieces of cream tinted eggshell board, 
7x9 inches in size. The design shown should be 
painted on the outside cover in oil paints; the 
edges of both front and back covers should be 
edged with gold paint; prepare a dozen sheets 
of pink and white tissue paper, the same size as 
cover, place evenly between the two eggshell 
board pieces and punch a hole in both ends, large 
enough to draw through a pink ribbon. Tie in 
small bows. 

This makes a dainty gift for a gentleman 
friend at little expense. 

Celluloid or leatherette may be used in place 
of the eggshell board; or, a cover can be made ^^^<^- -°3- 

of white canvas, embroidered all over with a Dresden design; in tliis 
case, a pair of cardboard covers should be cut and the embroidered can 
vas fastened on the outside of each cover. 




200 



DAINTY WORK FOR PLEASURE AND PROFIT. 



LAUNDRY BAG. 

Ornamental bags for small toilet articles, such as collars, cuffs and 
handkerchiefs are a necessary luxury, and the methods of making and 
decorating are almost numberless. It is, however, 
desirable to have them made in such a manner that 
they can be laundered when soiled. Figure 204 shows 
a bag made of a strip of cotton canvas, 36 inches long 
by 12 inches wide. The canvas is folded in the center 
of the greatest length; the two sides are sewed 
together, making a bag 18 inches long by 12 inches 
wide. Face the top of the bag to a depth of three 
inches with pale pink satin or silesia, and run in a 
shirring strip of pink ribbon at the bottom edge of 
hem, putting in two rows of stitches for that purpose. 
The ribbon should be long enough to tie in a bow and 
to form a loop to hang the bag up by. The decora- 
tion may be a simple floral arrangement outlined with 
silk or linen threads, or short and long stitch may be 
employed, if the article is desired to be very orna- 
mental. 

These bags may be made larger than the mode) 
when intended for larger articles than here mentioned, 
and Bargarren art cloth will prove a most serviceabit 
material for the purpose. The bottom of a bag made of this fabric couia 
be darned through each mesh, straight across the bottom, with Bargarren 
linen threads, to a depth of six inches. The top part that forms the hem 
could be treated in the same manner, and the center should have a design 
outlined with the same thread. Again, useful and durable laundry bags 
may be made of crazy patch work — silk and velvet pieces are not necessary, 
cashmere and other woolen material will work up with good effect. Put a 
chain stitch with etching silk over all the seams; face the hem with a piece 
of bright colored silk. A number of laundry bags of different sizes will 
always find sale at fairs and bazaars; beside they make a most acceptable 
Christmas gift to any woman. The expense of getting them up is but 
trifling, provided one exercises common sense in selecting the materials 




DAINTY TRIFLES. 



201 



PUMPKIN CUSHION. 

Figure 205 shows a design for a pumpkin cushion. It is intended for 
use on the dressing table and is made as follows: Make a round cushion 
the desired size and stuff 
with cotton or hair; cut 
two semi-circles of yellow 
satin or surah silk and 
cover the cushion. Divide 
into sections as shown in 
the illustration by passing 
a long needle threaded 
with knitting silk or etch- 
ing silk through the cush- 
ion as follows: Put the 
needle up through the 
center of cushion to the 
center of top; pull it up 
and carry the thread down 
the outside of cushion and 
secure it in place by put- fig. 205. 

ting the needle up through the cushion to top again; this forms one 
section. Repeat this, carrying the thread down the sides of the cushion at 
equal distances apart, until you have marked off as many sections as are 
desired. Fasten the thread at the top of cushion where the handle is to be 
placed. Two curved pieces of cardboard should be covered with green silk 
and glued into position for a handle. The embroidery must be done before 
the cover is put on the cushion. The model shows a vine of morning glor- 
ies worked with one strand of filo floss in short and long stitch; blue — palest 
shade — for the flowers, and two shades lily green for the stems and leaves. 
Provided one can paint and would prefer that style of decoration, the 
cushion may be made of cream white satin, which should receive a ground- 
ing of deep yellow over which the design should be laid in. 

. A cushion made after this model would be sure to prove a great attrac- 
tion at any sale, or would be a very pretty gift for any occasion. They 
need not be so elaborately decorated unless desired. 




2o: 



DAINTY WORK FOR PLEASURE AND PROFIT. 



PHOTOGRAPH FRAME. 

Figure 206 shows an easily made photograph frame, suitable for panel 
picture. To make: Cut a piece of cream white leatherette, 12x15 inches. 
Begin in the center and cut a slit toward the four corners, and bend the 
pieces of leatherette outward toward the side; this will form an opening, 
the size of which will depend upon the length each slit is cut. It must be 

t \ * • *^ - -^/^/"k- C^^ .^ ' V ^ cut to fit the picture the 

<\ y ^ ^ ' fX/NvNTv - " ', ^-^^W frame is designed for. The 

turned back pieces were 
decorated with gold paint 
— the upper and lower 
piece with a band of gold 
three-quarters of an inch 
deep and the sides a floral 
arrangement of roses or 
pansies without foliage — 
see illustration — and 
painted with the gold 
paint. The piece of leath- 
erette decorated as direct- 
ed should be backed by a 
piece of stiff cardboard a 
size smaller, and the edges 
of the leatherette should 
FIG. 206. be folded back to the card- 

board and glued down; slip the photograph into the opening. Select two 
and one-half yards No. 12 satin ribbon of a rich gold color and place it 
squarely around the opening in the frame and tie a bow at the upper cor- 
ner — complete by fastening a wire standard in the back to support the 
frame. 

Any other material may be used for the frame, as eggshell board, 
celluloid, ivorine, plain cardboard covered with satin decorated with flat 
embroidery. The outer edges of frame, made as directed, should have a 
gold band one-quarter of an inch wide, painted all around; or the edges 
may be picked out in gold in Vandykes. 




DAINTY TRIFLES. 
PHOTOGRAPH ENVELOPE. 



203 




An accumulation of photographs beyond the capacity of the family 
album is an embarrassment of riches to many people. A convenient 
receptacle for these "left-overs" will be found illustrated in figure 207. To 
make: Cut out of parchment paper a 
sheet 7x13 inches; fold the two side 
flaps together down the center and cut 
into shape at the bottom edges; turn 
the bottom of the parchment up to 
one-half its depth and cut into shape — 
see illustration, figure 207. The flaps are 
to be left loose, as the envelope is to be 
placed upon a table, and this method 
allows the photos to be examined with- 
out fear of tearing their edges in remov- 
ing from and returning to the envelope. 
The decoration maybe made to suit the 
fancy; the model has an arrangement of. fig. 207. 

cupids done in water colors; the lettering is done with gold paint, all of 
which can be easily accomplished by the merest novice with brush and pencil. 

PIN TRAYS. 

Small trays for holding pins and loose toilet articles are convenient for 

the dressing table. It is not 
always desirable to stick pins, 
big and little, into a handsome 
cushion, and these little trays 
make a most convenient recep- 
tacle. The model, figure 208, 
shows two shapes, one inside 
the other, for making. The 
larger tray is made of a piece 
of ivorine six and one-half by 
FIG. 208. nine inches. Slash the corners 

of the ivorine in to a depth of one and one-quarter inches, beginning one 
inch from the points; this will give a slant to the sides and ends when 




204 



DAINTY WORK FOR PLEASURE AND PROFIT. 



turned up; the edges should be turned up to one and one-quarter inches, 
forming a shallow pan. Use the polished surface of the ivorine for the 
outside of tray; on the inside edges paint a row of wild roses, without 
foliage, in oil colors — see figure 208. Cut the outer edges of the rose petals 
out to form an ornamental finish and fasten the corners together 
with tiny bows of ribbon. The tray in the center of illustration is cut in 
triangular shape, of the same material, and painted on the edges with a row 
of daisies. These trays can also be made of heavy linen twill; hem the 
edges and turn up to a depth of one and one-half inches; fasten the corners 
with a securing stitch and ornament the bottom with a Dresden design done 
with silk or linen floss. The twill should be heavily starched before turn- 
ing the edges up; this keeps it in shape. 

GLASS HANDKERCHIEF BOX. 

The article illustrated in figure 209 is at once one of the simplest and 
most inexpensive gifts that could be devised. The boxes are made of 

glass and may be any size or 
shape. The model shown 
here was six and one-quarter 
inches wide, nine inches long 
and three and one-quarter 
inches high. To make this 
box will require six pieces of 
glass, as follows: Two pieces 
634^x9 inches for the top and 
bottom, two pieces 314^x65^ 
inches for the ends and two 
pieces 9x3^4^ inches for the 
side pieces. Bind each piece of glass with No. 9 ribbon, any color pre- 
ferred; draw the ribbon tight while binding and over-cast it at the ends 
with invisible stitches. Fasten the pieces together by sewing at the corners 
through the ribbon, which has first been fastened to each individual piece 
of glass; this sewing must be done neatly and strongly. Finish the corner 
with ribbon bows, also fasten two bows on the back edge of cover to serve 
as hinges; sew on a cord and tassel to lift lid by, and put in the bottom a 
quilted <■{]]< lining perfumed with sachet powder. 




FIG. 20Q. 



DAINTY TRIFLES. 
EIFFEL TOWER SCRAP BAG. 



205 



The above illustrates a very pretty substitute for a waste, scrap or 
laundry basket, and can be easily made. To make: Cut from card or paste- 
board three pieces, 7x21 inches in size, for the three sides; a triangular piece 
measuring seven incheson each 
of its three sides for the top or 
cover and a hectagon shaped 
piece for the bottom, measur- 
ing seven inches on each of its 
six sides. Coverthe three side- 
pieces on one side with duck 
or canvas, and the other with 
silesia or anything else you 
choose, using the latter also 
forthetop and bottom pieces. 
Sew the three side-pieces to 
alternate sides of the hectagon 
with three half-yard breadths 
of Chinese or Japanese silk, 
properly lined, filled between 
the three boards, beginning 
seven inches from the top and 
fulled into the remaining sides 
of the hectagon. Gather the 
silk breadths closely in at the 
top and fasten the upper por- 
tion of the three boards to- 
gether. Put a ruffle of the silk 
around the triangular piece 
and fasten it to one side of the 
top for a cover. 

The painting — it might be 
embroidery on appropriate material — had best be done before putting the 
parts together. The article illustrated has large, dull, yellow flowers, some- 
what conventionalized and well shaded in different forms upon the three 




FIG. 210. 



2o6 DAINTY WORK FOR PLEASURE AND PROFIT. 

sides, the background being formed by painting the surface of the three 
pieces over with a delicate bluish gray. The silk is yellow, and yellow satin 
bows, one on the cover one hanging from the top by an ecru Tyrol cord, fin- 
ishes the basket. The long lines of the sides are artistically broken by loop- 
ings of this cord, across from where the silk fullness begins. Other colors 
may be used, but all must harmonize or the basket will not be "a thing of 
beauty." 

The most convenient way to paint the panels will be to first cover them 
entirely and evenly with the gray background; gray is simply red, blue and 
yellow combined, and is bluish, purplish or greenish, according to the pre- 
dominating colors in the mixture. In mixing put your red and blue 
together with a very little ivory black and a good deal of white, and then 
tone with the yellow. When this background is dry, paint the flowers upon 
it. For the colors needed and the method of putting them on see chapter 
on "Brush and Palette." 

Should embroidery be preferred, instead of painting, it must be done 
before the covering is fastened to the pasteboard. Any of the conventional 
forms preferred may be used. If yellow is the color chosen, Nos. 8i, lo, 
19, 82, 6, if red is the color, then 87, 58, 70 Real Scotch linen threads will be 
required. The work should be done in solid Kensington stitch. The 
leaves should be done in browns or olives. Of course, in case embroidery 
is used the canvas will not be painted. 

STAR QUILT. 

The subject of quilts is a most social topic of conversation. How many 
a romance has been stitched into patchwork squares will never be known, 
and the woman who has never solved the mystery of the "Irish chain," "fox 
and geese" and the "Greek cross" has missed half the sweetness of life. 
The old styles of patchwork quilts are still made, and probably always 
will be, but in these days of elegant fabrics and perfect embroidery mate- 
rials at such fabulously low prices women have been tempted to stray 
beyond the limits of calico quilts, and indulge in something a little more 
ambitious. The popular quilt is now the star quilt, and for a raffle piece, for 
fairs or church festival, there could be no more attractive article. As the 
stars are worked separately and joined afterward, a number of people could 



DAINTY TRIFLES. 



207 



work on the quilt at once, and then, too, there is such a variety of work 
necessary that even grandma's eyesight would enable her to add her mite. 
The method of working is as follows: The materials used are first, four 
yards good quality domestic linen, quite heavy, with a nice smooth surface, 
a quality worth about 35 cents per yard 
will do nicely, three bunches etching 
silk, or Real Scotch linen floss No. 8, 
two gross smallest size brass rings, one 
six-pointed perforated star pattern to 
stamp with. 

Place the linen on a smooth sur- 
face, and stamp the star pattern over 
the surface, being careful to economize 
space, and yet leave room for working. 
After the stamping is done, cut out the 
stars on the square, that is, do not cut 
the points out, but cut a square with 
the star in the center, leaving about 
one inch margin from the end or point 
of star; this is for convenience in work- 
ing. When the stars are all stamped 
and the squares cut out, you are ready 
to proceed with the fancy work. With 
the etching silk work a heavy button- 
hole stitch (see illustration page 208) 
over a thread of Bargarren linen, or 
size German cord around all the points 
of the star. Then, with the same silk 
fill each point of the star with one of 
the filling stitches, either fish net, brick 
cross, crows-feet, or any that is pre- fig. 211. 

ferred; each star however, should contain but one kind of filling stitch; 
but each star in the quilt may be of a different pattern, that is, use fish net 
in one star cross stitch in another, and so on. For the center part of star, 
crochet a sufficient number of the brass rings with the etching silk, and 




208 DAINTY WORK FOR PLEASURE AND PROFIT. 




STAR QUILT-SEE PAGE 206. 



DAINTY TRIFLES. 209 

sew them in a circle to the linen. This makes a very effective finish. 
After the embroidery is done, cut out all the linen from the points of the 
star with a pair of sharp scissors; this will leave a six-pointed star only, 
w-'th no surrounding linen Thirty-six to forty-eight stars will be necessary 
for the spread and they must be set together by the points. The edges 
will, of course, be formed of the points, and from each should be suspended 
a tiny silken tassel. The colors of silk used is a matter of fancy, but the 
handsomest are gold on white, old rose and white, blue and white, green 
and white, and exquisitely beautiful is an all white quilt. 

To bottonhole the edges of star will require about one skein etching 
silk, while the filling stitches in the points of star will require three to 
four skeins, and for the tassels, one skein etching silk will make three. 

The illustration on page 208 shows two of the spaces formed in setting 
star together filled with cobweb stitch — this method is not arbitrary, as the 
quilts are quite as frequently finished without as with, but of course this 
method adds much to the beauty of the quilt when finished. As will be 
seen, threads are carried from different portions of the star points, across 
the open space, these are worked over with cobweb stitch, which is simply 
running a silk thread alternately over and under the crossing lines, loop 
over in each instance with buttonhole stitch — this will hold the silk in 
place. The cobweb can be made open or close. 

The illustration on page 208 shows two of the stars worked, each after 
a different method. One has all the stitches alike, the other has six differ- 
ent stitches; the balance of the stars are not shown with stitches, they are 
merely added to show how to set a number of the stars together, and how 
to fill the spaces. We do not think there can be the least trouble in follow- 
ing these instructions. 

HANDY BAG. 

Fancy bags are very convenient receptacles for the odds and ends that 
accumulate, and which one occasionally has use for; suspended .on the wall, 
m a corner or on a table in the sitting room they are useful and ornamen- 
tal. These bags should be decorated with needlework and made of suita- 
ble material, art linen, silk, tapestry linen or cloth being best adapted for 
the purpose The model, on page 207, shows a bag having the bottom gath- 
ered in a point and finished wdth a tassel. The material is moss-green 



^10 



DAINTY WORK FOR PLEASURE AND PROFIT 



satin, for the outside; the lining is of pink sateen, faced on the top to « 
depth of three inches with pale pink China silk. A shirring is formed at 
the bottom edge of the facing, into which an elastic rubber band is run. 
This draws the top of bag together. The handles are formed of No. 12 
pale pink satin ribbon, fastened to the bag as shown in the illustration. 
The design ornamenting the front is a branch of pink daisies. The flower 
is worked out with four shades of pale pink filo floss, shading from the 
palest shade made down through four shades, in Kensington stitch. The 
center of flower is filled with French knots. The leaves and stems are done 
with the same stitch, in three shades of silver green. The buds are worked 
with the deepest shade of the green and tipped at the very point with a 
few stitches of the deepest shade of pink. The tassel at the end may be 
made of rope silk or crewels, as preferred. 

Cheaper bags can be made by using art linen for the foundation and 
embroidering the design with linen threads. 

TOILET CUSHION. 

The cushion shown in the model, figure 212, is made a little longer 

than wide, and is stuffed so that it is higher in the back and slopes at a 

gentle angle to the front. This effect is secured by sewing side pieces tr 

the top and bottom of cushion cover, having the back side pieces higher 

than the front. Cover 
the cushion with pale 
yellow surah silk, and 
make for the top a 
removable cover of 
white silk bolting, bor- 
dered with fine white 
lace. The top of cover 
may have a design of 
golden rod and foliage 
painted in oil colors. 
Fasten *^^o the ^.-ushion 
FIG. 212. with pale golden yellow 

bows. The design may be embroidered, in which case the golden rod 
should be worked with French knots, and the foliage with short and long 
stitch. See chapter on "Raised Embroidery" 




DAINTY TRIFLES. 



211 



EMORY CUSHION. 

A little novelty easily made is shown in figure 213. It is an emory 
cushion, made in the form of a leaf. Make a cushion the same shape as 
here shown but twice the size, and fill 
with emory. Out of white cashmere 
cut two leaves a size larger than the 
cushion. Fill the surface of one leaf 
with French knots, done with etch- 
ing silk — pale pink; vein the center 
with Royal floss, using a shade of 
pink a trifle deeper than for the 
French knots; place the cushion on 
the plain leaf and put over the cush- 
ion the embroidered leaf; buttonhole 
the edges of the two leaves together 
with pink Royal floss, and fasten a 
bow of narrow pink ribbon at the 
stem end. A number of these emory 
cushions embroidered in different 
colored silks will always prove a sell- fig. 213. 

ing attraction for fairs and bazaars. Flannel could be used in place of the 
cashmere, or if it was desired to have something extra fine, white satin or 
silk could be used. 

BUTTERFLIES. 

Sprays of flowers, beetles, bugs and butterflies are used to decorate 
lampshades, to pin to the window curtains, to fasten on the wall over a pic- 
ture frame; in fact, wherever a convenient spot affords a resting-place it is 
quite in order to fasten a bug of some kind — not the real thing, of course, 
but just as good an imitation as nimble fingers can fashion. We show here, 
in figure 214, a butterfly which can be attached to a lamp shade, or any of 
the places mentioned, with good effect. Trace the shape of the wings by 
means of impression paper, but twice the given size. This can be accv.rately 
accomplished by means of a pantagraph. Cut the wings out of black vel- 
vet paper, or if preferred, black crepe paper; paint with liquid gold the 
markings shown in illustration, and fasten a fine hair wire around the wings 




212 



DAINTY WORK FOR PLEASURE AND PROFIT. 



on the wrong side. To make the body, roll a piece of cotton lengthwise 
until it is about twice the size of a lead pencil in thickness, v/rap it around 
with the black paper and tie a piece of wire around the neck and at inter- 
vals down the length of the body; fasten in pieces of wire for feet, and two 




FIG. 214. 

wires in the head, as shown; these must be gilded. Fasten the wings to 
the body by means of mucilage. Several of these butterflies made up of 
different colored paper would be ver}* useful for filling up bare-looking 
spaces. 

MUSIC STAND. 

To make the simple anangement shown in figure 215 will require the 
service of one's husband, father or brother, as the frame work will be beyond 
the skill of most women, — note that we do not say all women. The four 
upright pieces that form the sides of the stand should be 3 }{ feet long 
and the side braces 2 ^ feet long. In the center of the side pieces bore 
two holes so that they come directly opposite each other; six inches from 
the bottom ends bore holes large enough to receive the ends of the side 
braces. Cross the two side pieces, like the letter X and fasten with a 
double-headed screw or with a riveted nail, and put the side pieces in. 
The material for the frame may be common pine or it may be old broom 
handles; in any event, when the frame is fastened together give it a coat 
of ecru-colored English enamel. P'or the pocket select a piece of tapestry 



DAINTY TRIFLES. 



213 



linen, of a shade bordering on golden brown, four feet long by two feet 
wide. Line it with dark brown canton flannel, of a good quality, and finish 
the edges all around with a heavy 
silk cord. Fasten the four cor- 
ners of the tapestry linen to the 
four side pieces of frame by 
means of ecru-colored ribbon 
bows. The sides of the pocket 
should have an elaborate design 
worked out with four shades of 
golden brown Royal floss, dashed 
with gold thread. This stand 
will be found very convenient, 
and inexpensive as well. 

The colors given here are 
not arbitrary, nor are the materi- 
als; but it will be found to give 
better satisfaction if the embroi- 
dery is done with the same color fig. 215. 
as the foundation. Mail cloth, velvet, silk and ooze leather are all desirable 
fabrics for the pocket of stand, but of course more expensive than the linen. 
In case ooze leather is employed, two skins will be required. The dec- 
oration could be a conventional design stamped on the ooze leather atia 
then gone over with gold paint. As this paint comes ready for use, a 
person need not be an artist to apply it. This leather can be had in ecru, 
white and bronze brown. The ecru treated as described would be effective. 
The inside of pocket could be lined with some pretty, bright color, 
either green, rose or blue china silk, and the edges finished with a 
heavy cord. 

Artistic pockets for rack can be also made of Scotch homespun, which 
is a pure linen fabric, very heavy, but without any twill. The decoration 
could be a Dresden design of buttercups worked with yellow browns in 
silk or linen threads, or a design of music notes and violm could be worked 
on one side. 




214 DAINTY WORK FOR PLEASURE AND PROFIT. 

SCISSORS CASE. 

A scissors case made as follows will be found a splendid article for 
fairs, Christmas or birthday gifts. The case, of course, must be cut to 
fit the scissors it is designed to hold, but the shape 
can easily be copied from figure 216. Cut two pieces 
of cardboard, line them on the inside with a piece 
of chamois skin or velvet, cover the outside with 
any scrap of silk or cloth that may be at hand. Join 
the two pieces together with a buttonhole stitch, 
done with rope silk or Royal floss. On the outside 
cover work a design in solid Kensington stitch with 
filo floss. The model shows lilies of the valley on 
moss green velvet. The lining is of pink satin, and 
the buttonhole stitching pale pink silk, though any 
colors one happens to have will do equally well. To 
embroider the design here shown will require one- 
half skein white filo floss, one thread of green filo 
floss, and one-half skein rope silk. 

The scissors case shown here, the laundry bag 
on page 200, the mending bag on page 191 and the 
holder on page 192 would form a combination gift 
that would delight the heart of any woman with 
mind on housewifely cares intent — and the cost 
could certainly be compassed by a single dollar, and may be less — all 
would depend upon the condition of the scrap-bag. And here it may be 
well to state that a scrap-bag should be kept in every household. Pieces 
of ribben — no matter how soiled or creased — should never be thrown away; 
carefully cleansed in gasoline, they can be utilized for various purposes; 
also velvet that has been used on bonnets, dresses, etc., can be steamed, 
when it will answer for making various trifling articles at once useful and 
ornamental; so cultivate the habit of saving all the scraps of old ribbon, 
velvet and cloth, and you will always have a resource in times of making up 
"fancy work." And be sure the scrap-bag will save many a penny in the 
course of a year. 




FIG. 216. 



DAINTY TRIFLES. 215 

CRAWLING RUGS. 

These rugs are the delight of every baby fortunate enough to possess 
one. The foundation may be made of an old dress skirt, a piece of felt or 
flannel, or even canton flan- 
nel will do nicely. It should 
be lined with old ticking and 
lightly wadded. Over the 
surface applique all sorts of 
figures — of toys, animals and 
familiar playthings. These 
figures can be cut out of any 
odd bright-colored scraps 
the rag-bag may afford. 
They should be buttonhole- 
stitched on to the founda- 
tion. Old pieces of silk, rib- 
bon, velvet, flannel and cash- 
mere can be used indiscrim- 
inately. Picture books and 
cards will furnish designs for 
cutting the scraps by, and the 
figures may be further em- 
bellished by adding a few 1^^ 
Embroidery stitches occasion 
ally. But, made simple or elaborate, it is a most cunning article for the 
little tots who can just crawl about, investigating everything on their hands 
and knees. They will spend any amount of time patiently trying to pick a 
small boy, drum or wheel-barrow off the rtig — sometimes developing a little 
latent temper when they don't succeed. 

For fairs or bazaars they are a decided success. Where it is not desired 
to make up more than one rug for a bazaar a nice profit can be made by 
cutting sets of figures, ready for appliquing, out of bright felt or flannel. 
They could be sold very cheap, as the scraps and work would of course be 
aonated. 




FIG. 217. 



2l5 



DAINTY WORK FOR PLEASURE AND PROFIT. 



FOR THE DINING ROOM. 

Nowadays there are so many pretty novelties used on the dining tables 
and sideboards that one need n^ver be at a loss what to make for Christ- 
mas, wedding or birthday gifts, for one's married, or about-to-be-married 
lady friends. In the chapter on "Flat or Art embroidery" will be found a 
list of the various linen articles that are commonly used m the dining room. 
In this chapter there are several ideas in the same direction that will be 
found simple and inexpensive in the working out. 

Doyleys, mats of var- 
2222b^ ious sizes, lui^ch sets, tray 

"*' and bread cloths, etc., 

offer a field for decorative 
embroidery whose variety 
scarcely knows a limit. 
The work required for 
these articles is not exact- 
ing and only simple color- 
^ ing is required. 

Roman embroidery is 
especially suitable for ta- 
ble linen and may be in- 
troduced in a center piece 
as a border, while the cen- 
ter of the article may be 
embroidered with Dresden 
design. Some ladies prefer the appointments of their table to be all in 
white, while others prefer delicate shades of a color; but we would not 
advise going beyond this: decided colors are not usually satisfactory used 
on table linen. 

Doyleys are always in order; they may be of different sizes and used 
for a variety of purposes. It is a good idea to have several sets of different 
sizes on hand, but decorated with colors that will harmonize — so that in 
case it is necessary to use them all at one time, the colors will not swear at 
each other. If )'ou arc obliged to make a wedding gift, be sure that the 
bride will be delighted'with any gift in this line. A set of six odd mats, a 




FIG. 2n 



DAINTY TRIFLES. 



complete lunch set or a water server mat, will always find eagtr purchasers 
at fairs; and for one's self no more satisfactory fancy work can be done 
than making up "Dainty Trifles" for the dining room. 

Figure 218, on the foregoing page, shows a design suitable for center 
piece for luncheon. The working size is seventeen inches across, while 
plate or cup doyleys from four to six inches across may be embroidered to 
match. The material best adapted for this work is satin damask or Roman 
twill. To make a center piece and six plate doyleys will require two-sixths 
of a yard of the damask eighteen inches wide, three dozen skeins of etching 
silk, or one and one- 

half dozen skeins .^\'\'\'i~r'-^^^°^"'-^?^-o 

Scotch linen floss, six 
skeins German cord, 
smallest size. First 
work the edges with 
buttonhole stitch 
over the German cord 
with the silk, after 
which fill in the sur- 
face with double bas- 
ket stitch described 
in the chapter on 
"Stitches." The cen- 
ter should be filled 
in with spot stitch 
for the circles, out- fig. 219. 

line stitch for the straight lines, daisy stitches for the figure in the center, 
and French knots for the small circles in the center. The colors are of 
course a matter of taste, but pure white Royal floss for filling in the basket 
stitch, the same color etching silk for buttonholing the edges, and palest of 
green for filling in the center, would give a pleasing effect, or the pale yel- 
lows, pinks or blues would be effective. 

Figure 219 is a very beautiful design which will require careful treat- 
ment to bring out its beauty. It is not desirable to use this design reduced 
in size for small doyleys. It is better to make the center pieces as shown 




2li 



DAINTY WORK FOR PLEASURE AND PROFIT. 



and then have the cup doyleys in the shape of the leaf without the flower 
resting on it; silk bolting is a beautiful material for the foundation of this 
design. Treatment: First darn, in Queen Anne stitch, the entire surface 
of leaf with pale silver green filo floss, shading to nearly white; work the 
edge with a light buttonhole stitch taken on the edge of material^ — not over 
a cord — with the same silk; with a shade of silk a trifle deeper work in a 
few short and long stitches at regular distances around the edge of leaf, 
outline the petals of flowers with white Royal floss, working some of the 
petals with short and long stitch. For the shadows put in a few threads of 

silver green filo floss; cut 
the edges out very care- 
fully and line the center 
piece with pale pink silk 
or with a rich gold or a 
light green. The darning 
stitches should not be 
taken very close together, 
but about as indicated in 
the illustration. The silk 
lining may have the edges 
fringed or finished with a 
ruffle of fine snow-white 
lace — or both — arranging 
the lace so that it will fall 
over the fringe. 
FIG. 220. Figure 220 shows a 

model that can be used as a center mat 17 inches across, or, reduced in size 
as a mat for bread plate, salad dish or fruit basket. The material for the 
foundation may be fine huck-a-buck linen, satin damask, or satin sheeting. 
To work the design as shown in the illustration will require, for a mat 
seventeen inches across, two skeins smallest size German cord, one dozen 
skeins etching silk or Royal floss. Work the edges of the center circle and 
the four loops with plain buttonhole stitch over a German cord, fill in the 
spaces in the loops and the circle with diamond couching, explained in the 
chapter on "Ecclesiastical Embroidery." Work the outside edges of the 




DAINTY TRIFLES. 



219 



center pieces with pointed short and long buttonhole stitch, previously 
described, using for this part of the work Royal floss. The rays spreading 
out from the circle between the loops will be effective in gold thread. 
This design is exquisitely beautiful worked with pure white for everything 
except the diamond couching and the rays, which should be of fine gold 
thread, although any other combination of colors may be used to suit 
individual fancy; as deep moss green and white for the couchings and rays, 
or, old blue and silver threads; pale rose and gold, or, yellow in two 
shades, one light and another shade at least two tones deeper. If linen 
floss is used in place of 
the silk about one-half 
dozen skeins No. 8 will be 
required. 

Figure 221 shows a 
model for center piece 
that is very effective made 
up as a set, consisting of 
a center piece and six doy- 
leys for cups, etc. Work 
the edges over the small- 
est size German cord with 
white etching silk: fill 
in the surface of petals 
with honey-comb stitch 
in white etching silk; out- 
line the center with outline FIG. 221. 
stitch and fill with plain diamond couching, done in gold thread; also work 
the veining lines that spring from the center down each petal in the gold 
thread. [ In using gold thread for table napery, or indeed wherever it will 
require washing, purchase the best, that which comes on spools giving bet- 
ter satisfaction than that put up in skeins.] White silk and silver thread 
would be a beautiful combination, worked out in this design. Of course 
the other mats, etc., used with this model should be decorated with the 
same or harmonizing colors or shades. For evening suppers or five o'clock 
teas the silver and gold thread light up wonderfully well, under the gas 




220 DAINTY WORK FOR PLEASURE AND PROFIT. 



or candle light. Figure 222 shows a graceful design, suitable for center mat, 
in a size either 17 or 21 inches in diameter; reduced to 12 to 14 inches a set 
of four mats could be most effectively used in combination with the center 
piece. The plate and cup doyleys could match or not as preferred. The 
edges of the petals should 
be worked all around with 
a row of buttonhole short 
and long stitches; into this 
should be blended two or 
three rows, so as to work 
into the petals at least i ^2 
inches. Begin on the outer 
edge with the lightest 
shade of the color to be 
used, blend into this the 
next deeper shade, and 
into this row blend still a 
third and deeper shade. 
Fill the center with out- 
line and spot stitches. 
Royal floss will be found f^g. 222. 

the best adapted for working this design as indicated, and it will require a 
little more silk than the other, previously described. 

A beautiful lunch set could be made by using this design in three 
sizes— for cups, plates and center pieces worked, as described, in three 
shades of lily green Royal floss on white satin damask. The combination 
of the delicate green and white would allow of any kind of floral dec- 
oration desired, and yet be a little change from the dead white so long 
used. If however the set is to be used over a white cloth, instead of on a 
polished table, a little color will lend a pleasing variety to the table, all the 
other appointments being in harmony; for this purpose pale dead rose, old 
blue, or certain shades of yellow are effective. 

The set could appropriately be made of silk bolting, in which case the 
embroidery should be done with white silk and the doyleys and center 
pieces lined with delicate colored surah or China silk. 




DAINTY TRIFLES. 



221 



A SHOE BOX. 



A shoe box cannot properly be styled "a novelty" in itself, as these 
articles have been in use from time immemorial, but the one shown in figure 
223 is both convenient and ornamental. A soap box 14x18 inches will 
answer for the box, the inside of which should be lined with white oil cloth, 
tacked in neatly. Around the inside of the box, when lined, arrange a 
strip of the oil-cloth, as wide as a shoe is long, and taek it into position 
so as to form compartments or pockets, dividing each compartment by 
means of a strip of brass braid, such as is used to finish the edge of floor 
oil mats. A narrow strip 
should also be fastened on the 
inside of the cover, for the 
purpose of holding brooms, 
brushes, etc.; for the bottom 
of the box, cut a strip of any 
dark colored cloth, canton 
flannel, Hollywood drapery or 
bolton sheeting as deep as the 
box is high, allowing for hem, 
and the strips should be as 
long as will go around the box 
twice. Finish the bottom 
edge with a buttonhole short 
and long stitch or a simple fig. 223. 

hem, and over the surface scatter dogwood blossoms and embroider them 
with white Bargarren art thread for the petals, and a shade of yellow for 
the center; arrange the strip around in box plaits, tacking on the top edge 
of box with brass headed tacks. The cover for the top should be cut 
three inches larger than the top of box, so as to allow it to fall over, scallop 
the edges and work with buttonhole stitch and embroider dogwood blos- 
soms over the surface, fasten the cover to box by means of small hinges 
or strips of oil cloth, and fasten a stout braid from the middle of cover to 
the side of box, as shown in figure 223. 




222 



DAINTY WORK FOR PLEASURE AND PROFIT. 




FIG. 224. 



BURNT MATCH HOLDER. 

Nothing presents a more untidy appearance than burnt matches scat- 
tered over dresser or commode. A pretty little affair to hold them is shown 

in figure 224. It will be an acceptable 
gift to almost any lady, especially if she 
be of the busy practical sort who never 
"finds time to do fancy work." 

The holder proper must be purchased and 
may be any pretty shaped glass, either white 
or colored; select a piece of colored china 
silk and cut a circle that shall be 12 inches 
across; hem the edges, and i^ inches from 
the top run in a piece of ribbosene for a 
draw string; into this silk bag put the glass 
and draw the string and tie. What could 
be more simple and inexpensive? A most saleable article for fairs and 
bazaars. 

TOILET CUSHION. 

Figure 225 shows a very pretty round cushion which is about 4 inches 
high and 8 inches across. 
The cushion is first covered 
with some pretty-colored silk 
put on plain. Around the 
edges is fulled a flounce of 
white lace as deep as the 
cushion is high. The top of 
the cushion is then covered 
with a square of sheer linen 
finished around the edge with 
a narrow lace edge. In the 
corner crowsfeet stitches are 
worked with rope silk, or 
instead, a pretty idea would 
be to work a Dresden design 
over the linen in solid Kensington stitch. In fact, it would be well to 




FIG. 225. 



DAINTY TRIFLES. 



223 



provide several of these small square covers for each cushion, each one 
worked differently, and as wash material will be used in their manufacture, 
the cushion can be kept ever fresh and clean with little trouble. 



FOOTSTOOL. 

These little footrests are made in divers shapes, and decorated accord- 
ing to individual fancy. The model has a frame painted with white 
English enamel, a piece of canvas, tacked on to the frame, forms the bed 
for the cushion, which is made of ticking filled with sea moss, and covered 
with pale yellow silk, on one corner of which is embroidered a graceful 
arrangement of daisies, worked out v/ith dull yellow filo floss, shading to a 
yellow brown. The cushion is 
kept in position by means of a 
scarf of pale yellow and golden 
brown silk, passed under the can- 
vas and over the cushion and tied 
in a large, loose bow on top. The 
ends may be fringed or trimmed 
with lace. The frame of stool 
should be nine inches wide, twelve 

inches long and eight inches high. ~ fig. 226. 

The material for cushion cover will be a piece of silk twelve by twenty-four 
inches, and the silk or ribbon to fasten cover on should be four inches wide 
and one and one-half yards long. 




CHILD'S CHAIR. 

At the season when the little folks are especially to be remembered the 
little chair here shown will serve as an idea which can be enlarged upon to 
suit the fancy. The chair shown is one of the ordinary wooden affairs sold 
in stores for twenty cents. Taken home and treated to a coat of ecru-colored 
English enamel, and decorated as shown, it could not be purchased for 
$5.00, and would make a gift that would delight the heart of the most exacting 
infant, The cushion for the seat is cut to fit, and filled with wool or feathers. 
The small cushion for the back should also be filled with the same mate- 



224 



DAINTY WORK FOR PLEASURE AND PROFIT. 



rials. The outside covers may be made of any material preferred; by far 

the most sensible as well as most fashion- 
able is fine white linen, embroidered with 
wash silks. The model shows an arrange- 
ment of carnations worked out with three 
shades of pale pink for the flowers, and 
two shades of brown for the stems and 
leaves. The cushions are tied to the chair 
by means of brown and pink bows of 
ribbon. When soiled the covers can be 
easily removed and laundered. 
CATCH-ALL. 
A dainty little trifle for the table, 
which will serve as a catch-all for cards, 
odds and ends, etc. is shown in the ac- 
companying illustration; it can be made 
of eggshell board, ivorine or cardboard 
covered. 

To make one like the model will 
require five pieces of stiff cardboard, 
twelve by twelve inches each. Cover 

each piece on both sides with art linen of a dull rose or light tan shade; 

overhand the edges neatly. If the ornamentation is to be embroidery, this 

part of the work must be done before 

the cardboard is covered. The design 

shown is very effective, and should be 

wrought out with three shades of 

yellow filo floss. Sew the four pieces, 

forming the sides, together, about two- 
thirds their depth, beginning at the 

bottom edge, and fasten a bow of 

ribbon at the termination of the fasten- 
ing — see figure 228. Sew the bottom 

in and finish all the edges with a row 

of art cord, sewed on with invisible stitches. Curve the side pieces out- 




FIG. 227. 




DAINTY TRIFLES. 



225 



ward slightly and the work is done. If celluloid or eggshell board is used 
the decoration must be painting, with oil or water color. 

HEAD REST. 

Head rests for backs of chairs are always in order, and those made 
long and somewhat narrow are preferable to the fancy shapes, especially 
when designed to be used on a sitting-room or library chair. The fancifully- 
shaped trifles are better suited 
for parlor, reception and draw- 
ing room chairs. 

The rests are made from 
silk, satin, linen, — white or 
clored— velvet, chamois skin, 
bolting silk or tapestry cloth. 
The one shown in the model 
is made of a pale ecru-colored 
soft twilled silk, bordered with 
cream-colored lace and pale 
heliotrope ribbon bows. The 
design is an arrangement of 
conventional clematis, worked 
in solid Kensington stitch, 
with four shades of heliotrope 
filo floss. The decoration 
might be any other design 
preferred, or indeed the en- 
tire scheme of color could be fig. 229. 
changed to suit individual fancy. The main idea is, of course, to have the 
thing resemble its name, and be a head rest in fact as well as name, and to 
that end the cushion should be filled with eider down. 

HANGING PIN CUSHION. 

Figure 230 shows a convenient pin cushion, suitable for suspending 
from the wall or a corner of the dressing case. 

To make: cut four pieces of cardboard 2^ inches wide and 7 inches long, 
pointed at each end. Cover each piece on both sides with soft silk, join 




226 



DAINTY WORK FOR PLEASURE AND PROFIT. 




the pieces as shown in figure 230, after which finish all the joinings with a 
cord terminating at the ends with loops and tassels. Suspend by means of a 
cord fastened at the ends. The model is covered with pale heliotrope 

satin on which is 
embroidered on 
the front edge pale 
wood violets. The 
pieces of card- 
board should be 
exactly of a size, 
and to insure this 
it is better to cut 
FIG. 230. Qj^g piece the re- 

quired size and shape, and then cut the other pieces, using this as a pattern. 
The entire effect of such articles as here shown depend upon the neat- 
ness of the work for their beauty almost entirely. 

FANCY PIN CUSHIONS. 

For fairs and bazaar sales the small inexpensive articles usually find readi- 
est sale and yield greater profits than the larger and more expensive ones. 
The two designs, figures 231 and 
232 show some pretty models for 
this purpose. Displayed in quan- 
tity, tastefully arranged in baskets 
they are an attractive addition to 
the fancy work booths. The 
illustrations show pin cushions 
made in the shape of apples and 
radishes of different sizes. They 
can be made of small scraps of fig. 331. 

silk and a bit of cotton. To make: roll a piece of cotton in the hand 
until it resembles the desired shape, then cover smoothly with soft china 
silk in the proper shape for the article represented, or in white silk tinted 
with diamond dyes to the required shade. Apply the dyes with a brush 
after the cushion is made. 




DAINTY TRIFLES. 



227 




Other vegetables and fruits can be imitated in the same manner with 
equal success, for instance, toma- 
toes of the small, round varieties; 
strawberries, of exaggerated size; 
pears and peaches, can all be re- 
produced in velvet and silk for a 
trifling outlay of time and money. 
The strawberry and tomato 
shapes should be filled with em- 
ery for needles. The pumpkin fig. 232. 
pin cushion, shown on another page in this chapter, may also be made in a 
much reduced size, covered with yellow velvet and filled with emery. 
INFANTS' CRIB COVERLET. 
Crib coverlets are appropriately made from flannel, eider down flannel, 
or lighter fabrics, as silk and merino, but in such cases they must be 

lightly wadded and 
lined. There are vari- 
ous pretty methods 
of decorating these 
coverlets. The edges 
may be either bound 
with ribbon, or scal- 
loped, and worked 
with a heavy button- 
hole stitch with wash 
twist silk, and inside 
this border a scat- 
tered design of 
flowers over the en- 
tire surface is the 
prettiest and most 
simple method of 
making up. The il- 
FiG. 233. lustration, figure 233, 

shows a coverlet of heavy white flannel, having a design of daisies scat- 




228 



DAINTY WORK FOR PLEASURE AND PROFIT, 



tered over the surface, worked in heavy satin stitch with white wash twist 
silk. The edges are bound with white satin ribbon. Carnations, buttercups, 
forget-me-nots, 'and miniature morning glories are all suitable designs for 
this purpose. 

TABLE COVER. 

So much depends upon the size of the table, the place it is to occupy, 
the purpose it is to serve that it is hard to give, in general terms, directions 
for making up table covers. Small tables having well finished legs or 



. ^ -^s^^^"*' 







FIG. 234. 

Standards, are usually covered with a square of plush or silk, or other fabric, 
covered with embroidery, and edged with lace or fringe. Tables for dining 
and sitting rooms are more generally covered with a large cloth, reaching 
nearly to the floor, and made of either Bargarren art cloth, hollywooa 
drapery, Devonshire art cloth, mail cloth or tapestry linen, and decorated 
with cross stitch borders, fringes and conventional designs. Figure 234 



DAINTY TRIFLES. 



229 



shows a table cover made of No. 6. Bargarren art cloth, having a border 
worked out in cross stitch with tWree shades of brown Bargarren linen 
thread. Figure 235 shows detail of pattern, which can be easily copied. 
The design is carried across the top and worked in quarter sections. Any- 
other colored thread could be used. The edge is finished with scallops, 
buttonhole' stitched with the same thread as used for the cross stitch. This 
design is easy, and can be duplicated by a person having no previous knowl- 
edge of embroidery, simply by following design and making a cross stitch 
in each mesh of the. 
fabric. gj^s^a-^^ 

Kensington embroi- ^s<^i1:aI 
dery is most effectively | 
employed on table 
<:overs made of fabrics ^aa-j; 
having a silken surface, 'iirj^>j(| 
as mail cloth, Russian 



tapestry or sateen, and 
the design selected 
should not be, for these 
large surfaces, broken 
by many details, but 
should be slightly con- 
ventionalized, both as 
to form and shading. 
See chapter on "Shad- 
ing." Where it is not 
desired to put in as 







jpw^ 






■ |^,« 



if .iSSTrf 



<^ gsTi^ Jto ' '^wS KSjS jSirS .*!ra ;«sS isjs s^,, 



saa Hjjii' '^c* BO^ 4sr=s xifji waa aaa ayraj 



FIG. 235. 

many stitches as Kensington embroidery would require, short and long 
stitch will be found almost as effective, though, of course, a massed effect 
of color cannot by this method be obtained. 

CHICKEN PENWIPE. 

A unique little trifle is shown in figure 236. It consists of two or three 
leaves of chamois skin, on which is gracefully mounted a fluffy little chick. 
To make, cut from scraps of chamois skin three pieces about four inches 
square; paint around the edges a g Id band, using a No. 3 brush and liquid 



230 



DAINTY WORK FOR PLEASURE AND PROFIT. 




gold paint. Fasten the leaves together by taking a few invisible stitches in 
the center. The next operation is the manufacture of the chicken. Cut a 
circle out of cardboard about the size of a small sauce dish. Out of the 
center of this circular piece of cardboard cut another circle. This will 

leave a hole in the center. 
Around the edges of the 
circle wind pale yellow 
yarn until the center space 
will hold no more. Sew it 
on the inside edge and cut 
around the outside edge 
and pull out the cardboard 
in sections. The result will 
be a fluffy yellow ball, which 
will look like almost any- 
thing except a chicken, but 
FIG. 236. ^^ Qj-jg gj^(j wind a piece of 

wire around to form the neck; put a black bead in both sides for eyes; cro- 
chet a beak out of brown wool or a bit of brown velvet, covered over cardboard 
and sewed on will answer as well. For the feet and legs select four strands 
of good, strong brown wire for each leg. Wind with brown silk thread, and 
at the bottom spread apart to form claws; the upper end of the wires must 
be fastened to the ball of wool. When the chicken is finished stand it in 
the center of the prepared leaves, and lo! you have the cutest possible 
penwipe. 

BRANCH OF FRUIT. 
There are many pretty little novelties that can be made from tissue 
paper — not the old-fashioned plain tissue, but the velvet and crepe papers, 
which are so beautiful and not at all expensive — that we think Dainty 
Trifles would not be complete without a few illustrations of what can be done 
with this material. Figure 237 shows a branch of fruit which is effective, 
when nicely made, to pin to curtains, on a picture, or to cover a bare space 
on the wall. To make the spray shown here will require one-quarter yard 
green velvet paper, one-half yard orange-colored crepe paper, and a small 
piece of brown tissue paper and a piece of stout wire. Prepare the stem or 



DAINTY TRIFLES. 



231 




branch by winding the wire with the brown paper, twisting it around 
smoothly and evenly. Cut the leaves from the 
velvet paper; they should be about three inches 
long. Cut the green paper into strips about 
four inches long by two inches wide, fold dowi. 
the center and taper the end to an oval point 
with the scissors, and the base of the leaf 
should also be sloped off. With a No. i brush 
vein the leaves with liquid gold paint, as indi- 
cated by markings in the illustration. For the 
oranges roll a piece of cotton wool into a ball 
and cover with the orange-colored paper; fas- 
ten one orange to the end of the branch by in- 
serting the wire directly in the center of the 
fruit; for the two remaining oranges insert a 
fine wire into each, and twist these wires 
around the main branch, where it is desired 
to have them; previously twist the small fig. 237. 

wires with brown paper. Gum the leaves into position, and the branch is 
finished. 

DUST CAP. 

The little dust cap illustrated in figure 238 is not so very ornamental, 

but its usefulness entitles it to a place 

among Dainty Trifles, as no neat and 

dainty little lady who has dusting to do 

can dispense with one. To make, cut a 

good-sized circle — at least twenty-four 

FIG. 235. inches across — from paper cambric. 

Pink the edges, and two inches from the edge run in a gathering ribbon, 

draw it up to fit the head of the wearer, and behold! the sauciest little mop 

cap imaginable. 

SACHET BAGS. 
The sachet bags shown in figure 239 are made of crepe tissue paper and 
are pretty ornaments for parlor, mantel, or for the dressing case in a 
guest room. To make the larger of the two shown, cut two squares of tissue 




2.^2 



DAINTY WORK FOR PLEASURE AND PROFIT. 



paper the same size; use a deep old-rose shade for the outer square and a 

light shade of the same color for the 
inner square. In the center of the 
squares laid flat upon a table place a 
ball of cotton wool, scented with some 
perfume. Gather the edges of the 
paper up and close to the ball of wool 
wind a wire tightly round and fasten. 
Pull the edges of the outer square 
downward to cover the fastening and 
to form a bottom trimming. Gather 
the edges of the inner square together, 
and dispose them so they will stand 
upright, as shown in the illustration. 

The smaller sachet is made in the 
same manner as the one just described, 
only it is smaller and the edges of the 
paper are disposed a little differently. 
A pretty combination would be white 
crepe paper for the inner square, and 
FIG. 239. pale violet for the outer, and to carry 

out the illusion — or delusion -- scent the wool with violet powder. 
TWO TOBACCO POUCHES. 
Figures 239 and 240 illustrate two 

pretty little tobacco pouches, which can 

be utilized as Christmas or birthday gifts 

for the brother, big and little, one's own 

and the other body's brother, as the case 

may be. Figure 239 is made of olive 

plush, lined with oil silk, or sateen would 

do if more convenient. The design of 

clover, daisies and ferns should be 

worked out in solid Kensington stitch in 

wash silks in natural shades, and a draw- 
string completes the pouch. 





DAINTY TRIFLES. 



233 




Figure No. 241 is more simple. The pouch is made of chamois skin, 
without lining. The bottom edge is trimmed 
with a fringe of the chamois, made as follows: 
Select a strip of chamois as wide as the bag, 
and as deep as the fringe is to be when fin- 
ished; paint over the entire surface of this 
piece, on both sides, with liquid gold paint. 
When dry, slash into narrow strips, to within a 
half-inch of the top edge, which is left for a 
heading; sew to the edge of pouch. The let- 
tering on the pouch may be etched on, with 
wash twist, in deep brown, or it may be written 

' ' ' ^ FIG. 241. 

in with a brush dipped in the gold paint. The design shown in illustration can 
be transferred by means of a pantagraph direct to the chamois, and then 
painted in oil colors with one or two shades of brown and gray for bowl and 
clouds. See chapter on "Brush and Palette," for instructions for painting. 

LEAF PENWIPES. 
Figure 242 illustrates three very convenient and pretty penwipes. Cut 

scraps of chamois 



skin into leaf shapes, 
as here shown. A 
natural leaf can be 
used as a pattern. 
For the covers, or 
outer leaves, use 
ooze leather, velvet 
or celluloid. Place 
the leaves together 
and fasten at the top, 
or stem part of leaf. 
Dip a No. I brush in 
liquid gold paint, and 
gild the edges of the 
leaves; also vein 
the outer or cover 
leaves with the paint, following the natural markings as nearly as possible. 




FIG, 242. 



234 



DAINTY WORK FOR PLEASURE AND PROFIT. 



TRAVELING CASE. 

For the convenient and serviceable traveling case here illustrated, 

select two pieces of good, strong, 
brown linen canvas, one for the out- 
side, and the other piece for the pock- 
ets. The lower pocket is formed by 
facing up the inside of the case to a 
depth of fifteen inches with a piece of 
the canvas; round the top edge, and 
stitch djwn the center, forming two 
serviceable pockets. The middle of 
the case is divided into three pockets, 
for smaller articles, and the space 
above is divided into eight sections. 
The case is bound with brown tape, 
and the pockets ornamented with 
lettering in satin stitch, done with 
Real Scotch linen floss, in a shade 
FIG. 243. of brown lighter than the canvas. 

The middle pocket may be ornamented as shown in accompanying design. 

CHILD'S CHAIR. 
The chair shown in the illustration is such as can be purchased for 
twenty-five or thirty cents. Paint the frame with 
two coats of cream-white English enamel. For 
the seat and back make two cushions, filling them 
with feathers or cotton wool of the best quality. 
After the cushions are finished, cover them with 
white linen lawn cases, embroidered in solid 
Kensington stitch with filo floss. The model 
shown here had an exquisite design of forget-me- 
nots, worked out in natural shades. The advan- 
tage of these covers lies in the fact that they can 
be laundered as often as necessary, without fear of 
injury. Any other design than the one mentioned pj^ 3^^ 

can be used. It is a matter of individual fancy — or taste, rather. 





DAINTY TRIFLES. 235 

MAT FOR WATER PITCHER. 

The mat here illustrated may be made of heavy Roman twill linen. 
The outlines should be worked with buttonhole short and long stitch. The 
petals should also be marked into diamond-shaped spaces by means of 
outline stitch, and in 
the center of each dia- 
mond-shaped space, 
a tiny forget-me-not, 
embroidered in solid 
effect, adds much to 
the beauty. The bottom 
of the mat is worked 
with a spider web. The 
colors are a matter of 
taste, but white for 
the buttonhole stitch, 
blue and gold for the 
balance of the work, 
would be effective. If 
a round tray is used on 
which to rest the water 
bottle or pitcher, then ^^^- ^^5- 

care should be observed to fit the mat to the bottom of the tray, and if 
the bottom of the water receptacle can be made to fill the spider web 
portion of the mat, the effect will be even prettier. 

NEEDLE CASES. 

Figures 246 to 248 show two pretty needle cases. They are designed 





FIG. 246. 
for utility, but may also be as ornamental as one chooses. Figures 246 and 
247 show a needle case open and closed. To make, cut a strip of velvet. 



236 



DAINTY WORK FOR PLEASURE AND PROFIT. 




celluloid or chamois skin eight inches long by three inches wide, lined with 
a strip of red satin. In one end fasten a tiny silken 
bag for thimble, etc.; in the center fasten a spool of 
silk by running through it a ribbon, which is tied 
on the outside of the case in a bow; the other end 
of the case is furnished with a needle book, made of 
flannel leaves, having the edges scalloped and 
worked in buttonhole stitch with some pretty col- 
ored etching silk; ribbon is sewn on each end to 
fasten with. Figure 247 shows case closed. The 
ornamentations on outside of case may be any de- 
sign to suit the fancy, but for small articles of this 
nature, the pattern will look best worked out in 
FIG. 247. natural shades in Kensington stitch. 

Figure 248 shows a needle case somewhat similar to the one just de- 
scribed, but folding differently. Cut a piece of 

ooze leather or oil silk about three and one-half 

inches wide by six inches long. This will form the 

outside cover. For the inside lining stitch scraps 

of chamois skin or velvet in the form of pockets, as 

indicated in the illustration. Letter each pocket 

in outline stitch with etching silk. The leaves 

for the needles should be made of fine white flan- 
nel, buttonholed with blue or pink silk around 

the edges. The case should be neatly bound and 

supplied with two ribbons to fasten with. This 

is a pretty little needle case and can easily be 

made, and is at the same time inexpensive. 

The material indicated in the instructions for ^'^'- -^B. 

any article in this chapter maybe varied to suit the convenience of the worker. 
KENSINGTON COVER FOR CUSHION. 
Figure 249 illustrates a beautiful design for sofa cushion cover, to be 

worked out in Kensington stitch with filo floss on mail cloth. The colors 

in the model were as follows: Foundation for cover, cream mail cloth; 

the roses were worked out with pinkish browns, which shades from a 




:d 



ELast 



ic 




o^tledfLesiSuttoRS 



DAINTY TRIFLES. 237 

white brown to a pinkish brown; four shades were used in each rose; the 
forget-me-nots were done in old blue, with a tiny French knot in pale 
yellow; the star-shaped flowers were shaded with pale pink, and the ribbon 




FIG. 249. 

and foliage were treated with lily green in four shades. Anything more 
beautiful and artistic could hardly be devised, the effect of the semi-con- 
ventional shading being extremely rich. The edge was finished with a row 
of gold lace. 

Furniture covers made of unbleached linen, of heavy quality, and with 
a decided twill. These covers are designed to protect handsomely uphol- 
stered furniture from the ravages of dust, light and moths, but they are 
sometimes also used to hide the ravages of time and hard usage. In either 
case they should be made to fit exactly, and the work should be done 
neatly and thoroughly. There is no excuse for furniture swathed in an 
untidy mass of loose cloth. The covers may or may not be ornamented, 
according to the wishes of the owner, but where the covers are designed to 
be used throughout the greater part of the year, it will be more pleasing to 
the eye if there is a trifle of well-wrought needlework on each cover. 

There are two methods of embroidering furniture covers, either of 
which will be recognized as artistic. The first is to decorate each piece with 
cross-stitch, done with linen floss in monotone. Pages 140 and 141 show 



238 



DAINTY WORK FOR PLEASURE AND PROFIT. 



appropriate designs, and in the chapter on "Berlin Embroidery" will be 
found instructions for working. The second method is solid Kensington 
stitch, with wash fllo floss silk. For this purpose natural forms of flowers 
may be selected, but the shading should be done in dull conventional 
shades, as described in the chapter on "Shading," as a constant sight of 
covers embroidered in glaring reds, yellows, pinks or blues will soon be- 
come an almost unbearable eyesore. 

NASTURTIUM CUSHION. 

The cushion shown in figure 250 is simple and elegant. The founda- 
dation is a square cushion, rather flat, covered on both sides with dark blue 

plush or velvet. The back 
cover is cut large enough 
to lap over on the front 
side, joining a facing or 
hem about four inches 
deep. The front of the 
cushion has a piece of 
pale blue fish net lace 
laid over the plush cover. 
Over this fish net are 
scattered nasturtiums, 

which have been just 
stamped on a piece of 
satin, the color of the 
lightest shade in a natural 
FIG. 250. nasturtium, and then ap- 

pliqued to the fish net by means of a buttonhole short and long stitch 
around the edges, with a shade of silk deeper than the satin flowers. The 
cushion is finished with a bow of ribbon, two shades, nasturtium yellow and 
pale blue. 

In using the fish-net covering, any scheme of color may be carried out, 
and the effect of the net over satin is particularly pleasing. A beautiful 
cushion could be made in this manner by covering cream satin with cream 
white net, and appliqueing pansies in different shades of pansy purples, 
shading into pale heliotrope, with a dash of yellow; or, over the net, a 




DAINTY TRIFLES. 



239 



powdered design of blush roses, worked in solid Kensington with rose pink 
filo floss. There is hardly a limit to the diversity of ornamenting cushions, 
but as has been frequently observed in these pages, the use to which each 
cushion is to be put must be carefully considered. Such a cushion as 
described above would be suitable only in a reception or drawing room or 
guest chamber. 

INFANTS' TOILET CASE. 

This dainty little affair will at once commend itself to those mothers 
of little ones who visit or travel occasionally. Many small articles are 
needed for baby's 
comfort, and it is so 
necessary to have 
them all together. 
A piece of pale 
green moire silk, 27 
inches square, lined 
with a stiffening^ 
crinoline will do — 
and over this anoth- 
er lining of pale pink 
China silk, fitted on 
to the edges of the 
outside green silk, so 
that the pink lining 
will lay in little puffs fig. 251. 

of fullness. Straps of ribbons are fastened at convenient distances for 
holding sponge, brush, comb, powder box, etc. To close, fold the four 
corners together, and tie with a pretty bow. This will be found convenient 
for packing. A little case made after this model and fitted with brush, 
comb, sponge, powder and puff, would make a gift for an infant's trousseau 
that would delight the heart of the most exacting mother. 

KEEP A SCRAP BAG. 

In this chapter on "Dainty Work," many articles of easy manufacture 
have been illustrated and described, but, dear reader, do not for a moment 
imagine that the subject has been exhausted. What has been given should 




240 



DAINTY WORK FOR PLEASURE AND PROFIT. 



but serve as a stimulus to the inventive faculties of the worker, for each 
article illustrated can be made in as many ways as there are individual 
fancies. It is not expected that the woman with brains will confine herself 
slavishly to a given size, color or shape. She will but use the suggestions 
given as a foundation on which to work out her own taste. There are many 
novelties which the scope of this work will not permit us to enlarge upon, 
but we must be permitted one more word before we pass on to the next 
subject, viz., ''Keep a Scrap Bag!' The numbers of pretty little trifles that 
can be made from the accumulation of ribbon, velvet, silk, flannel, and the 
usual odds and ends that will accumulate, is indeed surprising. To women 
of limited means it is most discouraging to be compelled to purchase each 
item for making the smallest trifle of fancy work, and many homes go un- 
adorned because of the neglect to care for the little scraps that an ingenious 
mind and nimble fingers could fashion into articles of use and beauty. 

Again, despise not the simple and inexpensive means of decorating a 
mantel, shelf, table or dressing case. Tissue paper, scrim, muslin, crochet 
linen, etc., may all be used effectively, and it is not at all necessary to wait 
until you are able to buy silk, plush, velvet, etc., for the work before at- 
tempting to make your home artistically and cosily pretty — "Cosily" is a 
good word applied in this connection, and the woman who fails to grasp its 
true spirit, is pretty sure to make a failure of her home beautifying. 

The following chapters on "Drawn Work" and "Brush and Palette," 
should be carefully studied and thoroughly comprehended, as by means ot 
the instructions there given, the question of expense is resolved to a 
minimum. 




CHAPTER XIII. 




DRAWN WORK. 

RAWN WORK offers a means of beautifying table linen, 
bed linen, towels, handkerchiefs, and many articles of a 
ladies' wardrobe. It is the least expensive, as to actual 
^ outlay of money, of any form of decorative needlework, 
but to do elaborate pieces on fine materials will require 
time and patience, and prove a tax upon weak eyes. 

The material for doing drawn v.^ork must be selected with care, but 
nearly all grades of linen may be used, provided the threads are even and 
the surface smooth. 
The quality of linen 
known to the 
trade as "round 
thread linen," is best 
adapted, as the 
threads are easily 
drawn, and the re- 
maining threads are 
firm and smooth. 
Scrim, surah silk, 
lawn, mull — all may 
be decorated with fig. 252. 

drawn work. The work should be done in either a square frame, having 
the work stretched in it according to directions given in the chapter on 
"Implements," or in a pair of hoops, as shown in figure 252. To work with, 
linen crochet thread. No. 80, is most desirable to use, though the beauti- 
fully colored wash silks are frequently employed on white goods, and 
always on silk and colored fabrics. On mull or sheer lawn the finest cotton 
thread should be used. 




242 



DAINTY WORK FOR PLEASURE AND PROFIT. 



piliiliiiliM^ 



Preparing the Work. 

Having secured the linen for the foundation, the next step will be to 
draw the threads. The space the pattern is to occupy should be accurately 

measured and marked. Some people count the 
stitches, but as the threads of the warp 
are sometimes heavier than the filling, it will 
readily be seen that if a square opening is desired, 
pulling an equal number of threads from opposite 
directions will not produce the desired result. 

Figure 253 illustrates the method of prepar- 
ing corner, from which to draw the threads to 
produce the square opening, shown in figure 254. 
This method applies to all work, unless the 
threads are to be drawn straight across, from edge 
to edge, but the ordinary method is to draw the 




Sniiiy'iiilSliiyiafiMi 



- 4" 



■*"■ — ""•■fiiimiiifi""""""''i^''^fir« 
FIG. 253. 

threads from side to side, leaving a square of the material at each corner, 
as shown in figure 255. 

Foundation Stitcines. 

The foundation stitch of drawn work is the knot stitch. When made 
in succession, as shown in figure 256, it is called knot chain. When the 
same stitch is applied to the middle of drawn 
threads across a border — see figure 257 — it is 
called duck's tail. 

To make a knot stitch, carry the thread to 
the left, then upward to the right, forming a 
loop, as will be seen in figure 256. The needle 
is then inserted under the drawn threads, to be 
tied, and the thread in the needle is drawn up- 
ward through the loop. Draw the thread care- | 
fully and the knot is completed. This stitch 
should be practiced until it can be made with 
exactness and smoothness. The knot may be fig. 254. 

tied over any number of threads the worker may desire, but the same num- 
ber should be tied each time, so it will be better for a beginner to count 
the threads for a time, until the eye has become accustomed to the work. 




DRAWN WORK. 



243 



ii:ii; 111 
iiiiiliiiii 



^m 



liiiiliiiiiiiiiillliij^ 



iilibiiiii 



lilllllli! 



ii||l|jj||jP||^ 



This simple knot stitch is effective applied simply to the hems of doyleys, 
handkerchiefs, or cushion covers, and may be used in almost every drawn 
work pattern. 

Another method of hemstitching is done by drawing the thread to the 
/eft, then downward to the right; see figure 258. Insert the needle under the 
drawn threads, and draw 
up through the loop thus 
formed. 

In all hemstitching the 
stitches must be made 
along an upper edge of the 
drawn threads, so that 
when one row has been 
worked across, the mate- 
rial must be turned in the 
hand, when the bottom fig. 255. 

lines become the top; or, in other words, begin the work at the right on 
the upper row, and at the left on the under row; see figure 259. The ends 
of the working threads will indicate our meaning. 

Figure 260, page 245 shows a pretty insertion, not at all difificult to 
follow. Detail /; shows the method of drav/ing threads for the border. The 

corner is first cut and threads drawn, as 
indicated in detail a and developed as 
shown in details a and d. The top 
and bottom border is formed by taking 
the knot-chain stitch at both top and 
bottom of the narrow border, shown in 
figure 260. In detail a it is shown 
worked only on the bottom edge. The 
knots should appear on the wrong side. 
The narrow margin on border of the material is decorated with a fancy 
stitch, done in either white or colored silk. The second row of drawn 
threads has the bottom edge treated in knot-stitch, while through the 
center is run a row of duck's tail. We now come to the small squares and 
the oblong spaces, which are defined by a row of duck's-tail stitches, taken 




FIG. 256. 



244 



DAINTY WORK FOR PLEASURE AND PROFIT. 




■WlMlWBIBHieiM 



jiiiiiiiMslii 




midway between the squares and marginal edges. Detail b shows method 
of drawing threads. For details a and b see page 248. 

Figures 261 and 262 may be combined on the same piece of 

work, placing the wider border between 
one or two rows of the narrower bor- 
der design. Sufficient threads are 
first drawn to form the hemstitching, 
as shown in figure 258. After this has 
been done draw as many more strands 
^' i<^'- -57- above it as the width of the pattern re- 

quires, which is a matter of choice. The upper edge of the drawn space is 
next finished with a row of hemstitching, which draws the strands into 
position at the top of the space. The next step is to draw the strands 
together in triplets in the center, as will be seen 
in detail a. The detail of this operation is also 
shown in detail b. The method of carrying 
the thread from the bottom edge to middle of 
space is shown in details c,d, e,f. The thread is 
carried up the side of the strand, which has 
just been knotted, and caught as delicately and « 
neatly as possible to the under side of the 
fabric at top of space. It is then carried along to the left edge of the 
fourth strand, still at the back of the work, and downward to the middle of 
the space, when it is brought to the right side of the work and thrown 

into position to form the loop, as 

shown in the detail marked c, 

pass the needle through 

and draw firmly. This forms the 

knot that ties each two strands 

together, and must be repeated 

until the pattern is entirely com- 

FiG. 259. pleted. Detail b, for figure 262, 

is prepared in the same manner as for figure 261, and the knotting is done in 

the same manner. Figure 262 and detail b are not necessarily part of 

figure 261. For the details see pages 250 and 251. 




FIG. 2 




DRAWN WORK. 245 

Basket Insertion. 

Figure 263, page 247, is an effective design suitable for heading to a 
border pattern, or as an insertion used alone. To work this pattern three 
drawn spaces are required — one narrow space at top and bottom of a 
wider space. Divide the strands into 
sections by working a knot-stitch over 
the narrow undrawn space, knotting the 
strands at the bottom edge of the upper 
space and the upper strands of the mid- 
dle space, repeat the knot-stitch both 
top and bottom of the middle space. 

To work the strands together, as 
shown in the illustration, begin at the 
upper edge and weave back and forth 
over them for half the width of 
the entire space. Havmg reached the 
middle of the space, take up the next 
two strands, and darn the four together 
for the remainder of the distance. 
Carry the darning or weaving thread in- 
visibly to the middle of the space, where 
the two second strands are taken up, 
and darn the upper half of the second 
two strands with the same half of the 
next two strands. Continue this method 
across the drawn threads. 
Lunch Cloth with Drav/n Work Border. 

The design for the border shown in 
figure 264 requires considerable care, as 
its beauty depends entirely upon the 
neatness with which the work is execu- 
ted. The pattern consists of two de- 
signs, yet both are made by the same method differently applied: 

The center of the design is made first. Draw the threads until 
the space the width of the desired pattern Iva--, been obtained, and 




FIG. 260. 



246 DAINTY WORK FOR PLEASURE AND PROFIT. 




DETAIL B, SEK FIG. 264. 



KiG. 267. 



DRAWN WORK. 



247 





DETAIL C, SEE FIG. 264. 



DETAIL D, SEE FIG. 264. 




FIG. 263, SEE PAGE 245. 



248 



DAINTY WORK FOR PLEASURE AND PROFIT. 




DETAIL A, SE]-: FU,. 260. 



then stretch the material in a frame. The next step is to knot the drawn 

threads into strands at the top and 
bottom of space by means of the 
knot-chain previously described. This 
will form a straight line of knotting, 
which is shown in detail a, between 
the center and the finish at each side. 
It is left in this position by drawing 
the finish threads, after the middle 
design is worked. Details «, ^, <; and <a? 
will give a clear understanding of the 
method of work to be followed. De- 
tail a illustrates the first step to be 
taken in working the center part of 
pattern. After the strands have been 
divided at top and bottom, as de- 
scribed by the knot-chain, an even number of strands are knotted 
togetheratthe center; see details rtand h. Knot 
together as many of the strands in the drawn 
space as can be tied, without curving the 
material too much along the knot-chain, but 
an even number must be tied in each cluster. 
The more strands taken, the more distinct 
will be the curved knotting. Ten or twelve 
strands, at least, should be used. See detail b. 
Knot clusters of strands across the cen- 
ter, as shpwn in detail c, carrying the thread 
from one knotting to another. This thread is 
not carried from one cluster to another along 
the middle of the finish at each side of the 
center, but each cluster is knotted at the cen- 
ter, and the thread carried down an outer 
strand to the fabric, and then along the 
back of the work to the next cluster, when it ^^^. . 

' DETAIL B, SEE FIG. 260. 

is carried up an outer strand to the middle, where the cluster is knotted, 




DRAWN WORK. 249 

then down the same strand to the fabric, and soon across the work. Detail 
c shows this part of the work. 

The next step in the design is shown in detail b. After the clusters 
are knotted it must be decided how many lines of knotting are to be made, 
and remember that the same number of knotted lines must be made for each 
half of the design. If five rows are to be knotted, each half of the design 




^^^ »««j.»»-i...T...mim.Ui..rcB..a-u ...- - ■ : 1 =^ .f I -.)M. M|f,r, ■],ff„|, PI inym^,||,^|.)ppM ^ 

FIG. 261. 

must be divided into six equal parts. At one-sixth of the distance from the 
center to the knot-chain begin the first knotting. 

When each cluster contains ten knottings, as shown in detail b, and tlie 
first row of knotting comes near the center, two strands should be tied with 
each knot made, but in the subsequent knotting take up but the one strand. 
The knotting, which is done with the knot-chain, should be so graduated 
that the work will remain flat, and the strands will radiate from the center, 
on each side, like the sticks of a fan. After the knotting next to the center 



250 DAINTY WORK FOR PLEASURE AND PROFIT. 

of the first cluster is completed, the thread is carried to the lower portion 

1 of the lower half of 
the second cluster, 
anci the knotting 
should be made 
across it at one- 
sixth of the distance 
from the knot-chain 

along the edge to the center, each knot tying 

one strand, as this knotting is now being made 

toward the center, instead of from it. as in the ^^^^^^ ^^ ^^^ ^^^ ^g, 

previous cluster. The thread is then carried up to the upper portion of 

the third cluster near 





ting of double strands, 
made. This operation 
entire work. Detail a 
examined before at- 
foregoing instructions, 
just described are also 
well as all the other 
pattern. Remember, 
knotting on each side 
strands knotted togeth- 
knotted singly. The 




the middle, and a knot- 
like the first one, is 
is carried across the 
should be carefully 
tempting to follow the 
The lines of knotting 
shown in detail c, as 
lines completing the 
that in only the row of 
of the center, are two 
er; all the others are 
first two lines of the 



DETAIL C, SEE FIG. 261 

second set of knottings, which cross the first ones in the diamond-shaped 

spaces, are 
also shown 
\ in detail d. 
T h e y a r e 
-! made in the 
same man- 
! ner as the 
correspond- 
ing ones in 
the first set, crossing the strand in the same order. Where the lines inter- 





DETAIL D, SEE FIG 



DETAIL E, SEE FIG. 261. 



DRAWN WORK. 



251 




sect, forming the diamond-shaped spaces; a knot is made to hold the lines 
in position. The remaining three lines of the second set of knottings are 
made in the same manner. The finish at each side of the center, shown in 
detail c, will be at once comprehended, although it is not used in the bor- 
der to the lunch cloth, which is narrower by two strands to each cluster. 
In detail c it will be noted that each cluster for the finish 
contains but half the number of strands employed in the 
center. In other words, each center cluster is divided 
into two equal parts, and each half of the cluster, in 
depth, is divided into thirds by two rows of knottings. 
The illustration will afford great assistance in working 
this somewhat difficult design. The main difficulty will 
be found in keeping the threads curved gracefully. 
Detail e shows a section of the solid circle used as the detail f, fig. 261. 
corner of the lunch cloth; it will be seen at once that buttonhole stitches 
must be made along the inner edges of the corners, to stay them, before the 
radiating threads are attached, as will be seen from figure 264. The solid 
portion of circle and the radiating threads may be of white etching silk, but 
the balance of the border should be worked with crochet linen thread No. 80. 
Figure 264 shows a corner of the lunch cloth completed 
and finished with a fringe. For details see pages 246-247. 

Border for Center Cloth. 

To work this border, select for the center cloth a 
fine, round-thread linen. Allow a hem one and three- 
quarters of an inch wide, and baste down firmly; draw a 
thread at the inner edge of the hem — as for hemstitch- 
ing. One and a half inches from the first drawn thread 
draw another thread. This will define the width, or 
DETAIL A, FIG. 261 . rather depth, of the border. Mark the space between 
the drawn lines into squares; run each line with white etching silk. 
Make the bars in each square as follows: Stretch white etching silk 
across the square spaces diagonally, from corner to corner, and one across 
the center, each way, taking care that the threads cross each other exactly 
in the center of the square. The four sides of the square should now be 
finished with buttonhole stitch. See that the heavy part of the stitch is on 




252 DAINTY WORK FOR PLEASURE AND PROFIT. 

the inside of the two long lines, marking the upper and lower edge of the 
border, and on the inside of every alternate square, beginning with the 
corner square. (The corner is not shown here, but is made by starting a 
square in the corner, and working both ways.) Whatever the size of the 
article to be decorated there must be an uneven number of squares, in 
order to bring one of the wheels, or open squares, in each corner. 

To work the first square in border, after the edges of the squareare 
buttonholed, cut away the linen, leaving an open space, or square. Put in 
the threads of silk from edge to edge, and from corner to corner, as before 
directed. Begin in the center of the square, and work a solid wheel about 
the size of a cent piece. To do this, back stitch around the threads, form- 
ing the spokes, as follows: Take up two threads, or bars, on the needle, 
draw up through them, put the needle back, and take up one of the bars 
just worked, and one new one; draw the thread closely. Continue this until 




FIG. 26q. 

the center is large enough, fasten the silk and begin the four wings of the 
wheel by weaving the three bars in each corner, from the center to the outer 
edge, leaving the outer bars unworked. 

To work the center wheel, shown in design, buttonhole the edges of the 
square, and put in the lines, as shown in cut. Begin and work the wheel 
in the center by weaving over and under the bars of silk. When the wheel 
is large enough, put the needle through to the wrong side of 'work and 
about one-eighth of an inch from the circle bring it to the right side and 
work a chain knot-stitch around each thread. When the first circle is com- 
pleted, repeat the operation again about one-eighth of an inch from the 
first row. The close and open squares are alternated around or across 
the article, as the case may be. The squares may be made large or small. 



DRAWN WORK. 



253 



Corners. 

Many pretty effects are obtained on carving cloths, dresser and side- 
board scarfs, as well as doyleys and pillow shams, by doing a pat- 
tern of drawn work in each cor- 
ner, as well as across the ends 
and around the border. These 
corners are called "cut in" cor- 
ners, as they do not form the cor- 
ner in a border design, but are 
distinct. In working the corner 
the article must be cut out and the 
width of hem determined and 
basted in position. Next mark off 
the corners with a blue or black 
lead pencil and buttonhole the 
edge, as shown in figure 266, after 
which draw the threads for the 
hemstitching. The above method fig. 266. 

is the preparatory steps for making any cut-in corner, no matter what the 
design, but figure 267, page 246, shows an effective design for this purpose, 
which can be followed from illustration. 

We show in figures 268, 269 and 270 three very effective designs, which 





FIG. 268. DETAIL A, SEE FIG. 268. 

can be applied as corners, spaces or squares. To work figure 268: "Draw 



254 



DAINTY WORK FOR PLEASURE AND PROFIT. 



the linen in squares about a quarter of an inch square, leaving between them 
as many threads as you draw. Start the threads on the wrong side at A, 
and bring the needle up to right side, so as to divide the woven threads 
at B; take a twist stitch through the linen at C, and with twist stitch 
divide woven threads at D and at E, then back to B through to wrong side. 
Carry the thread to woven square i, and make a cross stitch in the center, 
then bring thread out again as at D; with twist stitch take up remaining 
threads at E, then on to G and H, and back to F, down to the wrong side 
to the woven square 2, and so on. 

Detail a shows a simple variation of figure 268. For this design 

the squares may 
be half an inch 
square. Work 
them as in figure 
268, except that 
for the cross stitch 
on the woven 
squares, substitute 
a small stitch on 
the wrong side, 
just sufficient to 
stay the thread; 
FIG. 269. then put in diago- 

nal threads, as shown in detail a, B C, and DA, knotting wherever one 
thread crosses another, and also at the corners of the woven squares, as 
shown at A, B and C, detail a. 

Figure 269 shows a very effective border, made by combining a num- 
ber of stitches. Note the manner of drawing the threads. Draw the linen 
first in inch squares. Then draw threads from the woven stripes, as shown 
at A and B. This will divide the woven square into smaller spaces, as 
shown at C. Note that there must be six strands of woven threads after 
all the threads have been drawn. Strands i and 6 must be wrapped with 
cord-stitch, as shown at D, E and F. Darn strands 2 and 3 and 4 and 5, as 
shown in process at G and completed at H. The open squares are filled in 
with a net work made with the twist stitch, as shown at K, which is a double 
buttonhole stitch. 




DRAWN WORK. 



255 



Antique Border and Corner. 

Figure 270 shows an open corner after the border stripes have been 
worked and all the threads are in. Note that, in addition to the threads 
used in working the stripes, diagonal threads are put in from corner to 
corner, B B and C C, and vertical and horizontal threads are put in from 
where the bunches are tied across the center, D D and E E. To begin a 
corner design, tie all the threads together in the center, as for a back- 
stitched circle, and then darn around four or five times. This makes a good 
beginning for any design. A careful examination of this design will make 
it quite clear, if the numbers of the threads are noted, and attention is also 
given to where a thread is dropped in darning, and when taken up. Foi 
instance, in figure 
270, threads 1,23, 
4 and 5 are darned 
in spoke A for 
about a quarter of 
an inch, then No. 
I is dropped and 
No. 6 taken up 
and darned; this 
produces B. Again 
No. 2 is dropped, 
and No. 7 taken 

up; this produces pj^ 2-^ 

C. Then drop 3 and take up 8, and make D, and drop 4 and take up 9, and 
make E. That completes that spoke. Begin again at center, and darn 
6, 7, 8, 9 and 10 for F, and proceed to drop and take up a thread for each 
successive step, until the second spoke is completed." 

Elaborate pieces of drawn work are frequently embellished by cutting 
squares and circles out of the material and filling the spaces thus formed 
with lace stitches. The best for this purpose being honeycomb, point 
d'Alencon, point de reprise, spider web and twist stitch, all of which are 
illustrated and fully described in the chapter on "Stitches." Drawn work 
is now almost universally used in connection with embroidery, and center 
pieces, doyleys, lunch cloths, dressing case scarfs, etc., having drawn work 




256 DAINTY WORK FOR PLEASURE AND PROFIT. 

borders and corners, are further decorated with powdered or Dresden de- 
signs, done in solid Kensington stitch, with a single strand of either filo 
floss or linen floss. 

An effective arrangement for ends of guest towel is made as follows: 
For the bottom edge a handsome crocheted lace, three inches wide, made 
of No. 50 linen crochet thread; select some design shown in the chapter on 
"Knitting" or "Crochet;" above this three rows of hemstitching, fastening 
down a three-inch hem; three inches above this again work a drawn work 
pattern two inches wide, and three mches above this work another row of 
the same width; this will leave three bands of plain linen, each three 
inches wide, between the rows of drawn work. On these plain bands em- 
broider a Dresden design of miniature carnations in natural shades, using 
wash filo floss. 

The reverse end of the towel may be treated in the same manner, or it 
may have a crocheted edge made like the first and a handsome monogram 
worked in satin and couching stitches. Pillow shams are also frequently 
made as follows: Cut a square of linen, hemstitch down a three-inch hem; 
make drawn work cut-in corners after the method described on page 253, 
and over the center of the shams embroider tiny poppies and morning 
glories in wash silk. The effect is very good, and the work involved not 
at all difificult. 

We might go on giving ideas for specific cases indefinitely, but enough 
has been described and illustrated to give ideas which may be enlarged 
upon to suit individual cases, and there is so much yet to be said upon the 
subject of "Dainty Work for Pleasure and Profit," that we must bring this 
chapter to a close and carry our readers forward to the realms of "Palette 
and Brush." 




LITH.ay THC 0/ICU7T CO.CH.Hau. 



CHAPTER XIV 



BRUSH AND PALETTE- * 



AINTY Work for "Pleasure and Profit" would 
not be complete without a chapter devoted 
to decorative work with the brush. It is not 
the intention of the writer to go into the 
subject exhaustively here, but to give simple, 
easily-followed instructions for doing deco- 
rative work for the home, without incurring 
the expense of a teacher. So much can be 
accomplished with a few colors and a set of 
brushes, in the way of decorative effects, 
and at such a small outlay of time and 
money, that every woman should make her- 
self familiar with the method of doing the 
different kinds of decorative painting. Teach- 
ers have been and still are making money 
teaching painting; and painting on silk, satin, 
velvet, chamois skins, silk bolting, ivorine, 
celluloid, egg-shell paper, bristol board and canvas is used as means 
from which to derive a handsome revenue, by ladies who teach the art or 
do the painting for the trade. One lady in New York has, in the past few 
years, purchased a home and supported an aged mother and two younger 
sisters painting calendars, letter holders, telegram covers, etc., for a large 
wholesale firm in that city. There may not be much of what professional 
artists call "art," in this style of decoration, but it produces wonderfully 
pretty effects, at little cost, and so places the beautiful within the reach of 
the many, instead of confining it among the few wealthy fortunates. 

* Note. —The illustrations given in Brush and Palette are described in detail in Chapter XVIII. 




258 DAINTY WORK FOR PLEASURE AND PROFIT. 

The following instructions will be found practical, reliable and easily- 
comprehended. 

Designs for Painting. 

Many ladies imagine they cannot paint because they cannot draw. 
None of the paintings on fabrics displayed in the stores are drawn. The 
design is first stamped upon the fabrics by means of perforated stamping 
patterns, according to directions given in the chapter on "Designing." 
after which they are painted according to the instructions given in this 
chapter. 

We will discuss first, 

Painting in Oils on Fabrics. 

Almost any fabric can be used as a background for painting, but of 
course some fabrics are better for this kind of decoration than others; but 
silk, satin, muslin, linen, silk bolting, wool and silk canvas, give the best 
results, while fairly good success may be obtained on plush (short nap) and 
felt. To paint upon plush, felt, silk or satin no preparation of the material 
is needed. Stamp the design lightly with a powder, dust it off lightly, and 
tack the fabric on a board, or stretch it in a pair of embroidery frames. 
When painting on silk or satin, to prevent the oil from the paints spread- 
ing beyond the design, put the paints first on blotting paper, which will 
absorb the superfluous oil. The materials necessary for painting on fabrics 
are few and simple, as follows: 

Materials for Painting. 

Brushes. — Red sable. No. i. 

Red sable. No. 2. 

Small flat sable brushes, Nos. 3, 4, 5, 6. 

One large bristle brush for backgrounds and large surfaces. 

Palette. — This can be purchased at the art stores or a piece of smooth 
glass will answer the purpose equally well. 

Medium. — For thinning paints for use on wash fabrics. Foster's 
medium is excellent for this purpose. One bottle poppy oil and some spirits 
of turpentine. 

Colors. — A limited list of colors for decorative painting will be needed, 
as follows: zinc white, light red, vermilion, madder lake, cadmium, burnt 



BRUSH AND PALETTE. 259 

sienna, terra verte, zinnober green, Vandyke brown, rose madder, Antwerp 

blue, raw umber, ivory black and mauve. Others may be added if desired. 

Standage, who is authority on mixing colors, gives the following table 

for mixing, which will be found very valuable for those who wish to do 

much work in this line. 

To Produce Blues. 

Cobalt Green, Cyanine Blue. — In series of blues of the turquoise tint, 

sparkling and tender, both beautiful and useful. 

To Produce Browns, Buffs and Yellows. 

Chocolate Brown. — Add lake or carmine to burnt umber, or take Indian 
red and black to form a brown; then add yellow to bring about the desired 
shade. 

Olive Brow7i. — Mix one part of Saxony blue with three parts of burnt 
umber. Change proportions for different shades. 

Snuff Brown. — Yellow, 4 parts; Vandyke brown, 2 parts. 

Ordi?iary Brown. — Red, 3 parts; black, 2 parts; Chinese yellow, 2 parts. 

Light Buff. — Yellow ocher, lightened with white. 

Deep Buff. — Yellow ocher, white and a little red. 

Oak Color. — White, 8 parts; yellow ocher, i part. 

Fawn Color. — White, 8 parts; red, i part; yellow, 2 parts; umber, i 
part. 

Tan Color. — Burnt sienna, 5 parts; yellow, 2 parts; raw umber, i part. 

Brick Color. — Yellow ocher, 2 parts: red, i part; white, i part. 

Stone 6c>/^r.— White, 5 parts; yellow, 2 parts; burnt umber, i part. 

Portland Stone Color. — Raw umber, 3 parts; yellow ocher, 3 parts; white 
I part. 

Yellow Lake. — Umber and white, equal parts; add Naples yellow and 
scarlet lake; glaze with yellow lake. 

Jonquil Yellow. — Mix flake white and Chinese yellow, and add vermilion 
to carmine. 

Golden Yellow. — White and yellow, tinted with red and blue. 

Canary Yellow. — White and lemon yellow. 

Lemon Color. — Lemon yellow, 5 parts; white, 2 parts. 

Straw Yellow. — Yellow, 5 parts; white, 2 parts; red, i part. 

Citron. — Red, 3 parts; yellow, 2 parts, blue i part. 



26o DAINTY WORK FOR PLEASURE AND PROFIT. 

Clay Drab. — Raw sienna, raw umber and white lead, equal parts, and 
then tint with chrome green. 

Ordinary Drab. — White, 9 parts; umber, i part. 

Cream Color. — White, 5 parts; yellow, 2 parts; red, i part. 

Ora?ige. — Made with gamboge and burnt sienna. Useful for the autumnal 
tints, and to mix with the other greens, in order to vary their tone and 
depth, but not to be used in very warm sky tints. 

To Produce Grays. 

Indigo, lampblack, and madder lake. 

Indigo and Indian red. 

Indigo and light red. 

Indigo, lake and gamboge. 

Indigo, lake and Roman ocher. 

Indigo and Venetian red. 

Indigo, raw sienna and lake. 

Indigo, sepia and lake. 

Indigo and purple madder. 

Indigo, light red and lampblack. 

Indigo, burnt umber and lake. 

Indigo, madder purple and burnt umber. 

Lampblack and madder lake. 

Lampblack and burnt madder. 

Lampblack and light red. 

Lampblack and lake. 

Cobalt green, cyanine blue, carmine madder, for silvery grays, through 
lilacs to purple. 

The colors given in the first list answer for all kinds of painting 
for decorative purposes, no matter by what name it may be called, except 
for tapestry and china painting, a list or colors for which we give later. 
The designs that best lend themselves to decorative painting are all field 
and garden flowers, arranged in groups or used as single sprays, or formed 
into scrolls for border effects; also tiny landscapes. 

Handkerchief cases and articles of a like nature, are made very 



BRUSH AND PALETTE. 



261 



beautiful by painting over the entire surface of the satin a background; 

it may be in some neutral shade, or it may be a sky effect, over which 

the floral arrangement is thrown. 

Daisies, honeysuckle, apple or peach 
blossoms, delicate tea roses, feathery 
clematis, violets, white and purple lilacs, 
pansies, are all excellent subjects for 
silk or satin decoration. 

A design of apple blossoms would 
be painted thus: Squeeze out upon the 
palette a good quantity of zinc white 
and a little rose madder, and for the 
green leaves, terra vert, cadmium, burnt 
sienna and Antwerp blue. 

Begin by putting in the general tone of the blossom with zinc white, 
rose madder and a trifle black. For the calyx use terra vert and cadmium, 
and in the center of flower burnt sienna and cadmium, with a touch of zin- 
nober green. This for the yellow stamens. The high lights are painted 





FIG. 271 A. 



FIG. 271 B. 



with silver 
trifle madder 
leaves re- 
transparenc y 
Forthese use 
mium, burnt 
Antwerpblue. 
under side 
shows, use 
with the col- 
little ivory 




white and a 
lake. The 
quire more 
of coloring, 
terra vert cad- 
sienna and 
Where the 
of the leaf 
silver white 
ors, and a 
black. The 



FIG. 271. 

grayish branches are painted with Vandyke brown, silver white, and black, 
with raw umber and burnt sienna in the shadows. 

To paint morning glories, which are a delicate pink, banded with white, 
use madder lake, silver white, yellow ochre, and a trifle ivory black for the 
local color. The shadows are painted with light red, raw umber, and white. 
The white stripes, or bands, with white, madder lake and a little ivory black. 



262 DAINTY WORK FOR PLEASURE AND PROFIT. 

The lights are painted with the same colors. The centers are pale, almost 
white. For these use white, light cadmium and madder lake. The green 
leaves are painted with Antwerp blue, white, cadmium, light red, and ivory 
black, shaded with burnt sienna and black. The stems and tendrils, which 
are yellower in tone, with light zinnober green, white, light cadmium, and a 
little burnt sienna, and black in the shadows. 

Apple blossoms and morning glories are both beautiful gracefully ar- 
ranged for panels, photo frames, memorandum racks, cushions, drapes, etc., 
and the background effect spoken of previously enhances the effect a 
hundred fold. Any dealer in perforated designs will be certain to have 
several arrangements of these flowers, some one of which can be adapted 
for your use. Magazines, cards, etc., also frequently have pretty arrange- 
ments, which can be transferred by means of a pantagraph, as described in 
the chapter on "Designing." 

Sky Effect for Backgi»ouncis. 

A good sky effect can be produced by going over the surface with 
cobalt and zinc white, with a little castle earth at the bottom. Over the 
blue scatter gray and white clouds; for gray see table for mixing colors. 
Mix the colors carefully, and do not work the strokes of the brush together 
very much, as the broken effect is much more desirable. This part of the 
work should be done with a large bristle brush, and must be allowed to dry 
perfectly before putting in the design, which may be stamped on through 
a perforated pattern with white powder. We will suppose a design of 
daisies to be painted on the background just described, the colors needed 
will be zinc white, pale cadmium, pink madder — the tiniest bit possible. 
Make a green for the leaves and stems by mixing on your palette a little 
Antwerp blue, cadmium, and ivory black, or terra verte and zinnober green 
may be used, modified with zinc white. 

First, take out a small quantity of white on the palette, and we will say 
here, in taking paint from the tubes, always squeeze the paint from the 
bottom of the tubes; add to the white paint two or three drops of the 
poppy oil as a dryer. Mix thoroughly with the palette knife, and apply 
with a No. 2 brush. Begin at the top of the petals, laying on the color with 
smooth, even strokes, being careful not to go over the outlines. Take up 



BRUSH AND PALETTE. 



263 



the paint on the point of the brush, which should be held almost perpen- 
dicularly. This method lays the color on heavily. When the petals are 
perfectly dry, retouch them with white, to which a very little pink madder 
has been added. The cadmium is for the center of the daisies. The leaves 
and stems are to be painted with the green mentioned. 

Some artists use a great quantity of paint on textile fabrics, while 
others use very little. It is a question to be decided by individual prefer- 
ence. For white velvet the colors should be mixed with turpentine, and 
carefully painted over a coating of gum arabic, which has been previously 
applied to the velvet. 

Special Palettes. 

We have prepared instructions for painting a number of different 

flowers and foliage, which can be ap- 
plied to any purpose preferred, and the 
designs can be had in perforated pat- 
terns, very gracefully arranged. These 
instructions will frequently call for 
other colors than those mentioned in 
the list of colors. They can be added 
to the list if desired, or a substitute 
can frequently be made by using the 
table of mixing colors. 

Strawberry Spray. 

A pretty design for this spray, 17x14, can be obtained in perforated 
stamping patterns. Bronze satin or plush would be a suitable background. 
The paints needed will be scarlet lake, emerald and chrome green, Chinese 
Vermillion, lemon-yellow and white. If you wish to paint on satin, use soft 
brushes and drying oil; if on velvet or plush, use "clipped" brushes, and 
turpentine for mixing the paints. 

Paint the leaves with emerald and chrome green, mixed, giving a 
lighter shade on one side by adding a very little lemon-yellow. The veins 
in the leaves must be made with the finest brush, using brown madder. 
When this is very dry, retouch them with pure chrome green. Use equal 
parts of Chinese vermilion and scarlet lake for the berries, lightening with 
a little white, where a tint is required. Where the lines cross, a fine point 




264 DAINTY WORK FOR PLEASURE AND PROFIT. 

of yellow must be made, after the body of the berry is dry. This is put 
on with the finest brush, a very little paint being taken up directly on the 
point, and the brush held almost perpendicularly in the hand. The calyx of 
the berry is made in two shades of green, lightening with a little yellow, to 
suit the fabric used. 

Geranium Spray. 

Geraniums are exquisite painted on black, brown or white satin. In 
stamping patterns, there are small, medium and large sprays, so that one 
can adapt them to a variety of uses. We will suppose the pattern to be 
nicely stamped on the goods, and the goods neatly, firmly fastened to your 
painting board. As before stated, soft brushes are best suited to this class 
of work, and Nos. 2, 4 and 6 are good sizes. 

There are a great variety of geraniums, but we will select one of the 
zonal species for this lesson. Its blossoms are pink and its leaves have 
zones of reddish-brown, separated from the edge by a very narrow border 
of green. The paints needed are zinc white, pink madder, lemon yellow, 
chrome green and brown madder. 

Begin by laying out on your palette about a thimbleful of zinc white. 
Add to this five or six drops of the poppy drying oil. Now paint the en- 
tire design white, this being, of course, a mere body color. On satin of any 
shade, except white, it is best to give the design the body color. When 
the white is dry the natural shades are then laid on. For the leaves mix 
equal parts of chrome and emerald green, adding just a touch of lemon 
yellow. Paint the entire leaf with this color. When dry add the "zone" of 
pure brown madder. Do the veining with your finest brush, after all the 
rest is entirely dry. 

A natural zonal geranium leaf aids one in attaining the best coloring. 

For the blossoms use pink madder, lightened with white, laying on the 
color in smooth, even strokes, and being careful not to go beyond the out- 
lines. The stamen in the center of each geranium may be represented by 
a small dot of yellow, made with the finest brush. 

If you wish to paint scarlet geranium blossoms, use scarlet-lake, to 
which a small touch of carmine has been added. 

An excellent siccative, made of equal parts of balsam of fur and tur- 
pentine, is used for varnishing work done on satin. It must only be applied 



BRUSH AND PALETTE. 265 

when the paint is dry, and then very lightly. Work treated in this way is 
very durable. 

Butterflies. 

A small or medium-sized butterfly is a pretty decoration for a small 
cushion, perfume sachets, etc. A light yellow butterfly looks well on 
almost any shade of satin or velvet. Lemon yellow may be used for the 
body color, and when this is dry, spot with brown madder. The fine mark- 
ings that are sometimes seen on butterflies, may also be made with mad- 
der, using a very fine brush. A golden brown butterfly is beautiful on pink, 
white or blue satin. For such a one add Vandyke brown to yellow, to 
make the desired color. Spot this butterfly with mauve lake or ivory black. 
Use only a few drops of poppy oil in mixing the paints. 

Grapes on Black Velvet. 

For velvet painting the fine bristle brushes are used with good effect, 
but red sable brushes " clipped " are superior. To clip them, take a pair of 
small, sharp scissors, cut them off on each side and a little at the point. 
They must be rounded and firm to the touch, and at the same time have a 
good point. Three sizes of these brushes are necessary to do a variety of 
work on velvet. Cutting them lessens the size; therefore it is advisable to 
begin with medium sizes. 

The colors for a design of grapes will be cobalt blue, mauve lake, 
chrome green, terra vert, brown madder and silver white. Turpentine may 
be used for thinning the paints. Paint the stems and veins of the 
leaves with pure brown madder, then paint the grapes. To mauve lake add 
only a touch of white and two or three drops of turpentine. 

Lay on the colors smoothly, and do not go beyond the outlines; shade 
a little (using another brush) with pure cobalt blue. For another shade 
mix equal parts of mauve lake and cobalt blue. Paint the leaves with 
chrome green, to which a little yellow has been added, and when this is dry 
retouch them with terra vert, to which a little chrome green has been 
added. Do not work your color in on the veining if you can help it. When 
the body of the leaves is dry go over the veins again with brown madder, 
to which a little yellow has been added. On velvet the grapes look well 



266 DAINTY WORK FOR PLEASURE AND PROFIT. 

done in silver bronzing and the leaves in gold. Gold and silver paint may 
be purchased of all dealers in artists' supplies. A mixing liquid and direc- 
tions for using accompanies it. Gold and silver bronzing are effective for 
painting borders to portieres, table scarfs, and piano covers. 

' Pansies. 

Pansies are exquisitely dainty and lovely on bolting cloth, with satin 
under the bolting. They are also stylish painted in oil on the crown of an 
evening bonnet, with the ends of the strings painted to match. 

The colors needed for this lesson in pansies are brown madder, pink 
madder, silver white, lemon yellow, mauve lake, blacklead, chrome green, 
and terra vert, the latter being a very dark shade of green. Some natural 
pansies or a good pansy study will be of great assistance in painting, as 
these blossoms admit of more variety of shades than any other flower. 

To lemon yellow add a very little white and three drops of drying oil; 
with this shade paint one or two of the pansies, varying the color a little 
around the edges with brown madder; or only the lower half of the petals 
on each pansy may be painted with the light yellow. For some of the 
others mix mauve lake and pink madder, using one-third madder to two- 
thirds of mauve lake. This makes a handsome purple; to brighten the shade 
add a little white, and to darken it add brown madder. The fine lines and 
markings are made with a very fine brush, using black lead. Put this on 
after the first color applied to the petals has dried. If there are any buds, 
paint them to correspond with the blossoms. Paint the leaves in two 
shades of green, making them a little lighter on one side. To vein them, 
add a little yellow to the chrome green; do your veining with your finest 
brush. If any sprigs of ferny appearances are visible, paint with light 
green. Paint the little oval in the center of each pansy with lemon yellow, 
to which just a touch of brown madder has been added. When this is dry 
draw a fine line of pink madder around it. The same rule would apply it 
the same work was to be done on white or cream-colored satin. 

Purple Thistles. 

To paint the purple thistle in oil colors use permanent blue, madder 
lake, white, raw umber, and a little ivory black for the purple blossoms. 
In the shadows add to these colors burnt sienna, and use less white. Put 



BRUSH AND PALETTE. 267 

in the high lights last, using permanent blue, madder lake, white, and a 
very little ivory black. Do not blend these lights, but paint them while the 
surrounding tone is fresh. The leaves, stems and calyx, which are rather a 
light, silvery gray green, are painted with permanent blue, white, cadmium, 
madder lake, and ivory black. In the shadows add burnt sienna and raw 
umber; use less cadmium and white. 

Pond Lilies. 

To paint pond lilies in oil colors, first paint in the white blossoms in 
one general tone of light, warm gray. Afterwards put in the deep accent 
of shadow, and add the high lights with crisp touches; do not blend. Paint 
the general tone with white, yellow ochre, a little ivory black, cobalt and 
light red. In the shadows substitute burnt sienna for light red, and use 
less white and yellow ochre. The high lights are painted with white, a 
little yellow ochre and a little ivory black. The green leaves, which are 
gray and rather dark in quality, are painted with permanent blue, with a 
little cadmium, madder lake and ivory black. Use the same colors in the 
shadows, adding a little raw umber and burnt sienna. Paint under side of 
leaves with yellow ochre, white, cobalt, a little ivory black, and light red. 

Purple Clematis. 

Colors: Permanent blue, white, madder lake, and ivory black for the 
general tone. Shadows, add raw umber and burnt sienna. 

Paint the high lights in white, permanent blue, madder lake, a little 
yellow ochre and ivory black. In the centers use a little light cadmium 
with raw umber; for the shadows add white, ivory black and a little burnt 
sienna. For the green leaves use white, cadmium, Antwerp blue, vermilion 
and ivory black. Shadows of leaves, substitute burnt sienna for the ver- 
milion, add raw umber, and use less less cadmium and white. 

Oxinart Cherries. 

To Paint White Oxhart Cherries: Lay in a general tone. Mass the 
lights and shades very simply. Put in the high lights with crisp touches, 
and add the deeper accents of dark in the shadows. For the local tone use 
white, yellow ochre, a little vermilion, and a very small amount of ivory 
black. For shadows use white, raw umber, yellow ochre, a little ivory 



268 DAINTY WORK FOR PLEASURE AND PROFIT. 

black, and madder lake. Paint the high lights with white, yellow ochre, 
a very little madder lake, and the smallest possible quantity of ivory black, 
There will probably be soft gray half parts. Use for these white, yellow 
ochre, ivory black, cobalt and light red. In the deeper accents of the dark 
use burnt sienna with the other colors. If there is a faint tinge of red on 
one side of the cherry, add some madder lake to the other colors. To 
paint the black Oxhart cherries, use for the local tone madder lake, ivory 
black, a little cobalt, burnt sienna, and a very little white. The high light 
is made in white, yellow ochre, a little madder lake, and a very little ivory 
black. There is a gray surface light, which must be carefully observed, add 
more white and cobalt to the other colors in painting this. 

Leaves and Berries of Virginia Creeper. 

To paint the leaves of the Virginia Creeper, when they are turning red 
and yellow in autumn, use for the local green parts Antwerp blue, white, 
cadmium, vermilion, and ivory black. The shadows are painted with the 
same colors, but burnt sienna is substituted for vermilion, and raw umber is 
added. Less white and cadmium is needed. The red tones are painted 
with vermilion, madder lake, light red, white, a little ivory black, and raw 
umber. In the deeper tones add burnt sienna, and in the cool gray 
half tints use white, ivory black, a little cobalt, light red, and yellow ochre. 
The yellow tones are painted with light cadmium, yellow ochre, white, and 
a little ivory black for the lightest tints. In the deeper yellows add a little 
madder lake or light red, and substitute a darker cadmium for the light 
shade. In the shadows add raw umber and burnt sienna to thesamt colors, 
omitting yellow ochre. To paint the dark purple berries use madder lake, 
permanent blue, ivory black, white, and yellow ochre for the local tone. 
In the shadows use the same color, but add burnt sienna and raw umber. 
The reddish-brown stems are painted with burnt sienna, permanent blue, 
white, and ivory black. 

Peacocks. 

The oil colors used in painting a peacock are as follows: The deep, 
rich, irridescent blue tones in the center of the eye are painted with Antwerp 
blue, a little madder lake, and ivory black. The l:)ronze tones are painted 
with raw umber, yellow ochre, burnt sienna, a little ivory black, and as 



BRUSH AND PALETTE. 269 

nuch white as may be needed. For the brilliant emerald greens use 
Antwerp blue, white, light cadmium, a little vermilion, and a little black. 
The delicate purple tints are painted with permanent blue, white, madder 
lake, a little yellow ochre, and a very little ivory black. In the shadows 
add raw umber and burnt sienna. The beautiful irridescent color on the 
breast, which is partly blue and green, is painted with Antwerp blue, white, 
a little light cadmium, a little madder lake, ivory black, and burnt sienna. 
For the beady, black eye use ivory black 

Golden Rod and Asters. 

Set the palette with white, chrome or king's yellow, cadmium, cobalt, 
Prussian blue, Indian red, burnt sienna, mauve, castle earth, and black. 

Use a background, 15x24 — larger or smaller, only keeping that propor- 
tion. If you do not draw, stamp the design with powder. There are many 
pretty perforated patterns to be had for 15 to 25 cents. With a large 
bristle brush paint the background, using cobalt and white for a bit of sky 
effect near the top of the right side of the canvas, and surround it with 
white and light gray clouds, making some darker towards the left upper 
corner. For gray use white, black, a little cobalt, Indian red, and yellow 
ochre. 

Mix the colors carefully, and do not work the strokes of the brush 
together very much, as the broken effect is much more desirable. Paint 
the background entirely first, using castle earth toward the lower edge of 
the canvas to darken it; also, draw in some grasses before it is dry, in pale^ 
yellowish green or gray, using brighter green for the nearer bits of grass or 
leaves. 

Paint stems of light green, shaded with castle earth and burnt sienna. 
Use chrome yellow and black for most of the leaves, using white or a little 
cobalt where they are lighter. Use a small, flat bristle, No. 3, for painting 
leaves, drawing the stroke out from the stem. 

Paint in the golden rod flower with an undertone of cadmium, using 
a small bristle brush, well loaded with the color, or else use a corner of the 
flat brush, and touch the color, not put it on with a stroke. Finish with 
chrome yellow for highlights, and where the flowers are full bloom, add a 
few touches of burnt sienna for shadows, taking care to mix the colors as 
I'ttle as possible. 



270 DAINTY WORK FOR PLEASURE AND PROFIT. 

For asters, use mauve and white, putting each petal on with one stroke 
of the brush. A red sable, about No. 2, is most convenient for this part of 
the work. The center of the flower has the lower part, or shadows, in burnt 
sienna, and chrome yellow above. Leave the background to dry before 
attempting the flowers, if you feel that you can succeed better by doing so. 

Panel of Hollyhocks for Screen. 

A very good background for a panel of hollyhocks can be made from 
cream white hoUywood drapery, which should have a background painted 
over its entire surface, thinning the paints with Foster medium, scrubbing 
them into the material with a stiff brush, after which the hollyhocks can be 
stamped on the panel. 

Set your palette with white, chrome yellow, yellow ochre, permanent 
and Prussian blue, burnt umber, vermilion, light or Venetian red, crimson 
lake, rose madder, raw umber, castle earth, and black. 

If you wish a sky background with clouds, paint in the blue where you 
prefer it, using permanent blue, white, and a little black; cloud of blue, 
Venetian red, yellow ochre, and most of all white. Soften edges of clouds 
and blue carefully together; or, the background may be painted with a pale 
shade of green. 

Below center of panel darken gradually towards left-hand corner, if 
your study is painted with the light striking from the right side. 

After background is finished for the first painting, begin at highest 
buds and paint down buds and stems, carefully putting in the bright colors 
in buds before laying in green leaves. For pink flowers and buds use rose 
madder with white, using sugar of lead as a drier — a very little with each 
brushful of color. Use flat, soft brush on flower leaves, pressing the color 
firmly down at outer edge and drawing brush towards the center for large 
petals. For dark red flowers use crimson lake; shadows, mauve or purple 
lake; under side of leaves, crimson lake and white. For center of stamens 
use burnt sienna, yellow ochre and chrome yellow. 

Paint leaves in with Prussian blue and chrome yellow, or chrome yellow 
and black, using blue in shadows. Paint stems a little lighter, using white 
with other colors. 

After it is dry use castle earth to scrumble the background on lower 
half of panel. 



BRUSH AND PALETTE. 271 

The foregoing instructions can be applied not only to painting on 
fabrics, but are equally suitable for painting on celluloid, ivorine and 
glass, eggshell board, wood, curtain holland, and also for 

Washable Painting 

on linen, bolting silk, scrim and muslin; very beautiful effects are also ob- 
tained by painting in oil on wash fabrics. Curtains, pillow shams, toilet sets, 
and stand covers can be decorated in this manner at very little expense. The 
painting is done as directed for oil painting, and the same colors are used, 
with the addition of the Foster medium, which renders the colors almost 
liquid and allows them to be absorbed into the fibers of the cloth. Only 
flat floral effects, without perspective, should be attempted for this pur- 
pose. 

To use tiie Medium. 

Pour a thimbleful of medium to use from, as it must be used but at the one 
sitting; dip brush in medium, then in color on palette, working a little. 
Repeat same if necessary until color is thin; then tap brush on blotting 
paper until the paint will not spread, or until you can make a hair line. 
This will come with little practice. Hold brush perpendicularly, firm, but 
with a light hand, and, as a general rule, make quick, short strokes. Care 
should be taken to dip brush in medium often, and judgment used not to 
get too thin — i. t\, without body of color, as colors shade lighter on fabric. 
Always put the dark shade lines in first. The colors, by use of the medium, 
act as a dye, and fill the fibres of fabric; therefore go over work but once. 
What is put on in excess of first coat — or more color than cloth will absorb 
— will wash off. If color does not seem to penetrate cloth so as to show 
well on wrong side of work, dip clean brush in medium, tap on blotting 
paper, and carefully go over work on wrong side just as if you were paint- 
ing; or if you wish to blend colors, follow same directions as on right side. 
Let painting dry thoroughly — thirty to forty days — before washing; 
then if the work fades it is because enough medium was not used while 
working. In painting from nature or a study, in most cases, any defect 
can be remedied by painting over. With this process this is impossible. 
Therefore, as an easy, quick way of doing, we suggest the sketching or 
tracing outlines of study or object on thin paper, placing paper between 



272 DAINTY WORK FOR PLEASURE AND PROFIT. 

fabric and sheet of glass, placed on easel, or held in any manner, the work 
may be done without fear of mistake. 

Washing — Make a warm suds, wash the article, rinse and hang up; 
when nearly dry iron. Do fiot rub soap on painting direct. In short, take 
the same care you would with a delicate handkerchief. 

Water Color Painting. 

This method of painting is easily learned, and can be applied to many 
ornamental objects. Squares, scarfs, etc., of bolting silk, linen lawn, and 
China silk, tinted delicately with a wash of water colors, make desirable 
backgrounds for embroidery in outline, while drawing paper, leather, 
ivorine, and eggshell board, made into calendars, letter covers, telegram 
holders, photo frames, etc., and decorated with designs in water colors, 
are within the reach of all who are willing to bring to the work patience 
and application. 

The materials necessary are brushes, from No. i to No. 6, china palette, 
having cups in which to mix the colors, a list of colors as follows: 

" The pigments, which you will find most useful, are comprised in the 
following list: Vermilion, orange and scarlet, extract of vermilion, crimson 
lake, rose madder, or extract of madder, carmine, light red, Indian red, 
gamboge, yellow ochre, Indian yellow, raw sienna, lemon yellow, cadmium, 
burnt sienna, purple madder, cobalt and indigo, brown madder, biste, Van- 
dyke brown, sepia, burnt umber, neutral tint, ivory black, Prussian blue, 
French ultramarine, Chinese white." 

There are other colors which may be added, as desired, but the above 
will answer all the requirements of an amateur. 

In stamping the design for water color painting, great care must be 
observed. Stamp with white powder, and then with a brush charged with 
a pale tint of the local color of the flowers, go over the outlines lightly. If 
the painting is being done on cardboard or drawing board, the card must 
be wet in all the parts intended to be colored. This is done by passing a 
wide, flat brush, moderately full of water, gently over it; boiled water is 
best for this purpose. When the card is thoroughly dry, each flower and 
its foliage should be washed over with a tint, matching as closely as possi- 
ble the lighter tones of its own local color. This wash should be begun at 
the upper left-hand side, proceeding quickly to the right and downward. 



BRUSH AND PALETTE. 



273 



Beginners generally experience a little difficulty in this operation at 
first, but if attention is paid to keeping the brush equally full of color until 
it is completed, the difficulty will be easily overcome. 

Beginners frequently exhaust the color in the brush before filling it 
afresh, the consequence of which is that the new supoly of color flows back 
into the former, leaving, when dry, a distinct mark, which it is impossible 
to obliterate without sponging the whole entirely out with clean water. 

Fresh color should, therefore, be taken so frequently that no difference 
can be perceived between the tint of that which flows from the brush and 
that which is already laid on. 

The large pool left when the wash is completed can be best disposed 

of by drawing the brush gradu- 
ally to a fine point against 
the extreme outline. 

When the color just laid on 
is perfectly dry, the shadows 
must be carefully painted in 
and washed in the manner al- 
ready described, pains being 
taken to match the colors with 
those of nature. The shadows 
generally appear in parts to 
FIG. 273. be insensibly lost and blended 

with the pure color of the flower. This effect may be produced by pass- 
ing over the edges while still wet a clean brush rather dryer than that with 
which they have been painted. The local color may then be deepened 
where necessary, and the darker shadows may be worked upon until they 
are of the proper depth, and finished by small touches wherever great 
nicety is required. Some artists endeavor to finish their work entirely with 
soft washes, whilst others execute them with large or small touches, called 
stippling, but a middle course between these extremes will give a result 
more akin to nature. 

The leaves must be executed in the same manner as the flower. When 
of a glossy surface and affording brilliant lights, as well as shadows, they 
must be washed over with a very pale shade of cobalt and Indian red mixed. 




274 DAINTY WORK FOR PLEASURE AND PROFIT. 

the veins only being left (if they appear of a very bright green), and those 
lights which appear absolutely v/hite. When this is dry the local color, 
composed of chrome yellow, No. i, and indigo, must be laid on carefully, 
the lights only being left. The shadows must then be painted in with the 
same color, or a little gamboge and indigo, with a very small addition of 
Indian red; then the veins, if dark, with the same color, and the whole 
finished with small touches. Some leaves are of a silvery grayish tone; for 
these the local color must be composed of cobalt and chrome yellow, with 
an almost equal amount of Indian red. 

With respect to the use of body color, there is a great diversity of 
opinion. The earlier artists disdained its use altogether, while some later 
artists used it on every possible occasion, loading the paper with it, both 
foreground and background. This method undoubtedly gives more force, 
and certainly is more expeditious. When white is used it should be the 
permanent Chinese white. 

We give a few studies with palettes, suited to beginners. 

Roses. 

In pink roses, the local color is best imitated with pink madder, a pale 
tint of which must be washed over the flower, leaving only the perfectly 
white lights. When quite dry, the darker petals must be again covered 
with a deeper hue, and again with a still deeper hue the dark ones near the 
center. Sometimes the color of these is extremely red; if so, a little scarlet 
must be washed over them first. Next lay on the shadows, but so great is 
the transparency of the petals, that very little gray will be perceived in them. 
A very small proportion of cobalt and Indian yellow must, therefore, be 
mixed with the madder with which they are painted, and for the dark ones 
carmine alone may be used. For dark roses, crimson lake will be found 
the best color, instead of pink madder or carmine. 

Yellow roses should be painted in the same way, with either lemon 
yellow or chrome No. i, for the local color, the darker shades of yellow 
being finished with gamboge. The shadows can be painted with the same 
gray recommended for other flowers. 

White Flowers. 

In painting white flowers it is totally impossible to produce the brilliant 
whiteness of nature. The paper on which the drawing is to be executed and 



BRUSH AND PALETTE. 275 

the purest white pigments, are only of the same degree of whiteness as the 
flower in its half shade. If, therefore, either of these is used for the pre- 
vailing tone, which it most resembles, there will be no means left to repre- 
sent or even to attempt to imitate the high lights. The whole flower, 
therefore, to be in keeping, must be painted a degree lower than natural, and 
washed over with a pale gray, just as the local color is laid on in other flow- 
ers, leaving only the high and most brilliant lights. P'or this gray use pink 
madder, cobalt, and a very little Indian yellow, mixing the two former 
together first, and then adding the yellow cautiously. Then lay on the 
shadows with a much warmer gray — that is, with a less proportion of blue. 

In painting a white lily, chrome yellow, No. 3, may be used for the 
anthers; but in the white azalia, or other white flowers where they appear 
pale, a little Chinese white, mixed with chrome No. i, will be better. 

The Primrose. 

Outline the flower, beginning in the center; wet all the parts intended 
for coloring with water; wash over with a thin tint of lemon yellow, such 
as will match the depth of the larger portion of the flower, leaving only 
those parts, if any, which appear to be white, or nearly so. The color must 
be softened into these with a clean brush, as already explained. The color 
for the shadows must be composed of cobalt, pink madder, and a very 
little gamboge, the two former being mixed together first, and then the 
yellow added, always matching the tints used with those of the flower 
itself. When quite dry, the yellow must be deepened where necessary, the 
green in the center painted in with a little gamboge, and indigo, and the 
deep yellow marks, which surround it, with gamboge alone. The local color 
for leaves may be composed of chrome yellow. No. i, and indigo, with a 
very slight admixture of Indian red. For the darker shadows a little gam- 
boge will be required, instead of the chrome yellow. 

Blue Flowers. 

For the blue nemophila, cobalt alone will be the nearest approach to 
nature in the local color. For some campanulas, cobalt and a little lake; 
for others, French blue, and as much lake may be used as appears best to 
match the color of the species to be represented. For the salvia, smalt or 
ultramarine must be used, no other colors being sufficiently brilliant in the 
particular tone required. 



2/6 DAINTY WORK FOR PLEASURE AND PROFIT. 

The Convolvulus. 

Cobalt or French blue, with a slight mixture of crimson lake, may be 
used for the local color, but, of course, the more blue this is, the freshei 
and more newly expanded the flower will appear. The shadows should be 
painted with the same colors, substituting in the darker tones indigo for the 
cobalt or French blue. 

To Paint Figures in Water Colors. 

For designs having figures, as cherubs, cupids, Diana, etc., flesh colors 
will be required, and the following directions from A. H. Wall's treatment 
will be found to give desired results, although the minute details given 
need not be so faithfully carried out. Use the broad, general effect, and put 
in only such details as are needed to accentuate the work. 

The flesh colors are rose madder and raw sienna, Indian yellow or burnt 
sienna; vermilion and raw sienna; vermilion; extract of vermilion, alone 
or with rose madder and raw sienna; Venetian red, crimson lake and yellow 
ochre; rose madder and Naples yellow. 

The required mixture cf colors prepared carry a clean, flat wash of it 
over the flesh, using the large brush charged with just enough color to cover 
the space at once. 

"The first wash being dry, take a little rose madder and extract of ver- 
milion, and with a few tenderly applied touches, or washes, put the color in 
the cheeks and lips; then, but with extreme delicacy and faintness, increase 
the depth very gradually and softly — touching upon the chin, the nostril, 
the upper eyelid, just over the eyebrows, the tips of the ears and fingers, 
knuckles, etc., with the same tint, rendering the effect more or less percep- 
tible, according to the complexion desired. 

" Mix a little raw sienna and cobalt (substitute lemon yellow or yellow 
ochre for raw sienna, if the study is a dark one) and with the same 
delicate touches go over the outer portions of the shadows and retiring 
surfaces of the face, over the entire sockets of the eyes, the lower jaw, and 
the lines where the hair and flesh combine, making the blue a little more 
perceptible when touching the temples, the lower lid of the eye, between 
the eye and nose, etc., where the skin is thin and the veins perceptible. 

" Upon the darker shades a little vermilion and raw sienna may now be 
touched, and upon the darkest a little pure vermilion used thin and faint. 



BRUSH AND PALETTE. 277 

"With a little rose madder and cobalt the retiring portion of the cheek 
and chin, the lower portion of the socket and upper lid of the eye, may be 
carefully and tenderly touched. 

"A little indigo and raw sienna may be next used, with the same deli- 
cate care and faint, fairy-like scarcely perceptible touches upon the edges 
of the deeper shadows, and where the hair and flesh meet, blending and 
softening with patient skill one into the other. 

" Here and there the color in the cheeks and lips requires strengthen- 
ing. For this use a little crimson lake, or crimson lake and vermilion, or 
the extract of madder carmine, as your thoughtful consultation of the 
model may decide. 

" Put in the pupils of the eye with indigo; outline the iris with either 
the same color or sepia, according to its color, stronger or fainter, as your 
subject may indicate. If the eye is blue, use cobalt, or cobalt and 
indigo, as may be required; if gray, use a little indigo and burnt sienna, 
or neutral tint; if brown, umber, burnt or raw, as may be most desirable, or 
burnt sienna, or Vandyke brown, or brown madder, being guided by the 
tone of the part to be covered, and the color to be attained. Sometimes a 
little Chinese white will be required, mixed with either of the above. 

" Proceed to strengthen all the lines, such as those of the eye and eye- 
lids, the line dividing the lips, that of the nostril, the under or shadow line 
of the eyebrow, the soft line of shadow seen where the hair is thin and the 
skin seen through it, using a little Indian red or brown madder. A little 
madder brown may also be used to give strength to the cast shadows at this 
stage of your progress, and a little sepia to strengthen the outer lines of the 
upper eyelids. 

Very artistic figures can be had in perforated designs. "Aurora, cupid, 
cherubs — arranged in designs for wall panels, fans, easel pieces, etc. 

Fabric Tinting. 

Many ladies find profitable employment in tinting white goods with 
water colors, Paris tints, or even diamond dyes, which latter certainly have 
the advantage in point of cheapness. 

The tinted pieces are usually small and either square or round in shape. 
They are used as head-rest covers, toilet cushion covers, toilet mat, chair 



278 DAINTY WORK FOR PLEASURE AND PROFIT. 

mats, etc. The fabric selected should be very fine linen lawn, mull or bolt- 
ing silk. 

The article to be tinted is first tacked to the drawing board, being care- 
ful to stretch it smoothly and firmly. Sponge the surface of the fabric with 
water until it is evenly wet all over; then, commencing at the upper portion, 
apply the tint with a large, flat brush, which has been heavily charged with 
color. This part of the work must be done rapidly, and the brush must be 
refilled before the first charge is exhausted, in order to secure an even, uni- 
form tint over all the surface. Always begin at the top and work downward. 

A variety of effects are obtained by deepening the tint on the edges or 
in the center. This is done by going over the work several times with a 
stronger wash of the color desired. After the pieces are tinted they are 
allowed to partially dry, and are then pressed between two pieces of thick 
white flannel. 

They are now ready for receiving the design, which should be stamped 
on the tinted background with the black liquid stamping fluid, as this makes 
the finest and, at the same time, most legible line; see chapter on " Design- 
ing." The designs for this purpose should be light and of a most fairy-like 
daintmess— a blackberry bramble or a wild rose and bud, a flight of butter- 
flies, cte., being suitable. 

The tints for the background may be a primrose yellow, a wild rose 
pink, a pale green or a delicate blue, but be careful to have only a//;// — 
never a decided color. The water colors that come in the little pans are 
more easily managed than the colors sold in cake form. 

If a rose tint is desired, place a little pink madder in a butter chip or on 
the china palette, if one is at hand. Dilute with water until the lightest 
possible pink tint is obtained; wash this over the fabric as described; then 
to deepen the edges add to the pink madder a little cobalt and the tiniest 
bit of Indian yellow. This wash must also be diluted with water and 
washed over the edges, carrying the stroke toward the center in irregular 
and broken lines. The general directions given under the head of "Water 
Color Painting" will be of assistance for this kind of work and should be 
carefully studied. In tinting it is convenient to have at hand a piece of 
cloth on which to try the paints before applying them to the article, as if it 
happens to be too deep it will not be possible to remedy the defect. These 



BRUSH AND PALETTE. 279 

tinted novelties find ready sale, and when the work is nicely done, and 
stamped with artistic designs, and done up in assorted lots of one dozen 
each, the wholesale houses become eager purchasers at fair prices. 

One lady known to the writer has added materially to her income by 
this means. She knew nothing about painting, but one day being engaged 
in dyeing some white cotton cloth for carpet rags, she observed that differ- 
ent tints were obtained with the same color by adding water. Naturally of 
an inventive and ingenious disposition, she began to experiment, and from 
the crudest possible first results, she has succeeded in producing some of 
the most beautiful tinted articles ever put on the market, and her custom- 
ers may be found in almost every state. 

Aside from the tinted backgrounds, beautiful decorative effects are 
easily obtained by the use of the Paris tints, described below, or the water 
color paints may be substituted with as good effect if the artist has them at 
hand. The water colors are in the end the cheapest, as they can be used 
for a greater range of work than the Paris tints, which are useful only on 
fabrics, while the water colors can be used on fabrics, celluloid, wood, etc., 
and offer a greater range of tints, shades and colors. Many teachers insist 
upon pupils using the Paris tints for fabric and water colors for other back- 
grounds. The reason is obvious, as the use of the two entails an extra 
lesson or lessons and an extra outfit, which the teacher usually supplies the 
pupils for a " discount." 

Paris Tinting. 

This is a style of painting applied particularly to bolting silk, sheer 
lawn, and China silk, and by means of the tints, the daintiest possible effects 
can be obtained, and if washed carefully the color will not run or fade. 

The designs most effective in this work are flowers that do not require 
minute shading to bring out their beauty. Pansies, fleur de lis, wild roses, 
poppies, morning glories, and trumpet vines are particularly effective. 

The paints necessary for the work are as follows: 

Paris Tints — Put up in outfits of twelve bottles each. There are two 
sets, viz., A and B. 

Set "A" contains the following shades: 

Orange, dark red, bronze, blue, black, violet, lemon, scarlet, peacock, 
Bismarck, dark green, and mordant. 



28o DAINTY WORK FOR PLEASURE AND PROFIT. 

Use the mordant to lighten the color of any shade. 

Set "B" contains the following shades: 

Yellow, old red, olive, navy, drab, seal, flesh, pink, yellow green, purple, 
magenta, and mordant. 

Use the mordant to lighten the shade of any color. 

The above sets, with two brushes and two saucers, are sold in the 
art stores for ;^i.oo each. 

To use these tints, first stamp the design, moisten a fine sable brush 
with the color desired, and go over the space a number of times. Do not 
charge the brush too full of color, as it will then run over the outline and 
spoil the material. 

The material to be painted should be placed on the drawing board or 
table over a piece of blotting paper. Plenty of soft, clean rags should be 
at hand to wipe brushes on. Be careful not to dip the brush from one bot- 
tle of paint into another without first cleaning, as this will ruin the tints. 

The same effects can be obtained with the common Diamond dyes, sold 
in the drug stores at lO cents a package. To paint light tints of a color, 
dilute with water, and apply in the same manner as the Paris tints. 
Painting on Celluloid or Ivorine. 

Celluloid or ivorine offers a beautiful background for painting in either 
oil or water colors. No preparation is needed for oil painting, while for 
water color painting it is well to go over the surface with a piece of fine 
emery paper. This will give what artists call a "tooth " to the material. 
The celluloid should be cut the desired shape and size, and tacked firmly 
to the drawing board, as otherwise the edges would curl. The design can 
be stamped upon the material, and the outlines gone over with a fine- 
pointed sable brush with white paint. This will be necessary, as the pow- 
der will not adhere to the smooth surface of the celluloid. 

To paint with water colors on any highly polished surface, as celluloid, 
ivorine or glassine, first wash it over with a strong solution of borax water. 

Celluloid and ivorine are both inexpensive, and many beautiful articles 
can be manufactured from them. See chapter on " Dainty Trifles." 
Lilacs in Oil Colors on Celluloid. 

This flower in large, rich masses offers a beautiful and effective design 
for painting either on fabrics, cardboard or canvas. If the artist is com- 



BRUSH AND PALETTE. 281 

pelled to depend upon a stamping pattern for the design, a special pattern 
should be made to order, as those usually sold are intended for needlework- 
only, and show each portion of flower in detail. While for brush work 
masked effects are necessary, and if a little detail and perspective be in the 
pattern, all the better, as a fence, through which a distant bit of foliage can be 
seen. 

Begin the first painting by laying in the general masses, and do not 
attempt to paint the blossoms in detail at this time; that should be reserved 
for the finishing. For the second painting begin with the blossoms, and 
finish each part, if possible, while the paint is wet. For the purest white of 
the white lilacs use zinc white, softened with a little yellow ochre, light 
cadmium, madder lake and cobalt blue. For the shadows the same colors 
with ivory black and raw sienna. For the clearest purple mix a tone of 
zinc white, cobalt blue and madder lake, which should be modified with 
yellow ochre and ivory black. A little vermilion will be found useful in the 
darker blossoms. For the pale green leaves use zinc white, yellow ochre, 
light cadmium, and raw sienna. For the darker greens add some burnt 
sienna, deep cadmium, Antwerp blue and ivory black. The distant greens 
seen througn and beyond the fence, are painted with the same colors, the 
grayer tones being made by using more of the yellow ochre, cobalt blue 
and ivory black. If a sky background is to be desired, the principal color 
needed will be zinc white, light cadmium, yellow ochre, cobalt blue and ver- 
milion, some madder lake and ivory black will be found useful for the dark 
warm purple. For the fence use Vandyke brown, yellow ochre, raw sienna, 
ivory black and zinc white. Any parts which cannot be finished at the sec- 
ond painting should be allowed to dry for several days and then have a 
little linseed oil rubbed over them before proceeding again with the work 
It will be best to avoid turpentine for these final touches. 
Lilacs in Water Color on Celluloid. 

A deep cream or pale ecru will be most suitable for the small 
and delicate forms of the lilacs. Moisten the celluloid with borax water 
and then start with the fence, using Vandyke brown, lamp-black, yellow 
ochre and cobalt blue. Next paint the leaves which come in contact with 
it, using cobalt blue, light cadimum, raw sienna, Indian yellow, burnt 
sienna, indigo and yellow ochre. All the greens used can be made 



282 DAINTY WORK FOR PLEASURE AND PROFIT. 

with this palette by varying the mixture. To paint the leaves outline each 
one with the green paint and then fill in quickly before the outline dries 
and leaves a hard line. A full brush should be used. In painting the lilacs 
pass a delicate wash of cobalt blue and rose madder, modified with yellow 
ochre and lampblack. Tint the wash, paint the shadows, using the same 
colors intensified, and adding vermilion and brown madder. Keep the 
portion of the study you are working at wet, or the outlines will look hard, 
and be careful to observe the roundness of the bunch. If the bunch shows 
white and purple flowers, the background should be toned with lampblack 
and yellow ochre, for the white bunches, of which a very delicate wash 
should be made. For the shadows use the same colors, adding cobalt 
blue and light red. 

Lustra Painting. 

This method of decoration can be applied to wood, pottery and velvet, 
felt or satin, though velvet offers by far the best background. 

The materials necessary are the colors which come in the form of a dry 
powder. They can be had, put up in bottles, at the art stores, or in ounce 
packages, which latter is somewhat less expensive than the former method. 
The colors or powder are of two kinds — brocades and flitters. The brocades 
are a fine, impalpable powder of irridescent hues: the flitters are brilliant 
flakes of the same colors as the brocades. The colors are as follows: 

Brocade Powders — Antique green, brown, copper, crimson, gold bro- 
cade, green gold, lemon, light green, orange, rich gold, scarlet, silver, 
sparkling silver, steel. 

The above colors are each 15 cents per bottle. 

Dark purple, pale purple, emerald green, pale blue, ultramarine. 

Brocades — Gold, silver, copper, orange, fire, carmine, crimson, cambric 
(assorted), light green, light blue, dark blue, blue violet, red violet, new 
green, dark green, straw yellow. 

Flitters — Gold, silver, copper, orange, reds, blues, greens. 

Dry Colors — Black green, dark green, dull green, dull blue, dull red, 
light green. 

General medium, special medium. 

A china palette for mixing colors will be necessary. Where a palette 



BRUSH AND PALETTE. 283 

is not at hand small butter dishes will do nicely. Two flat bristle or sable 
brushes, Nos. 5 and 11, will be found most suitable for \his work. 

The colors are liquified by mixing them with the general medium. Use 
the china palette or saucer for this purpose (for pale pink, madder pink and 
carmine, the special medium must be used for mixing). The paints must 
be applied with the flat of the brush as much as possible. Keep the edges 
clear cut by taking fresh color in the brush frequently. Take long, firm 
strokes, lajnng the color on the surface only. 

In painting on plush the colors should be mixed with the medium until 
about the consistency of syrup. Select a plush with short, close pile, and 
paint with the pile. In painting silk, satin and linen, the colors must be 
mixed thinner and but little color taken in the brush at a time. Care must 
be taken that the color is not too thin with medium, or it will spread beyond 
the drawing. 

These colors are very brilliant and will last as long as the foundation to 
which they are applied. 

In the list of colors are given all that are in the market, but it is very 
seldom that one will require more than a dozen different colors for a large 
and varied amount of work. Good taste demands that the brocades should 
be used sparingly on textiles. They are more suitable for decorating pot- 
tery, wooden articles, etc., though for white flowers and brilliant foliage 
they can be made very effective and beautiful. The best artists, however, 
incline to the duller, more sombre tones. 

White flowers should be painted all over first with silver, using rriore 
paint where a high light will be than in the shadows; afterward glaze the 
high light with a mixture of one-third silver and two-thirds sparkling 
silver, and glaze the deepest shadows with steel. 

For yellow flowers use rich or pale gold, for the high lights, fire for the 
deepest shadows, blend with a middle tone of lemon or orange, to suit taste. 

In attempting any new kind of work, without personal instruction, the 
student must be prepared to do a little experimenting, to exercise consid- 
erable patience, and bring to the task all the common sense she can muster. 
There are ever pitfalls for the feet of the unwary, and many a puzzling 
point will come up for settlement in the work of each individual student, 
which cannot be anticipated in a work of this character, but with the pa- 



284 DAINTY WORK FOR PLEASURE AND PROFIT. 

tience to follow the instructions that have been given, point by point, and 
item by item, there is no excuse for not obtaining satisfactory •-esults. 

Kensington Painting. 

This style of painting, as its name indicates, is a close imitation of 
Kensington embroidery, and for some purposes quite as effective as that 
work and much less expensive. 

The painting can be done on plush, velvet, satin, felt and any smooth 
surface cloth, with oil paint, the same list of colors given for painting on 
*' fabrics," answering for this style of work also. 

Brushes Nos. 6 and 7, a palette knife, a porcelain palette, spirits of tur- 
pentine, a bank pen and some soft rags for wiping brushes, will complete 
the materials necessary for "Kensington Painting." 

Stamp the design on the material, using floral arrangements, and tack 
the material smoothly to the drawing-board? If the piece to be painted is 
small it can be stretched in a pair of embroidery frames instead. 

The paints should be applied with a stiff bank pen for the detail of 
the work, though where a broad surface is to be gone over, the paint may 
be applied with a brush, and afterward worked up with the pen. 

Squeeze out on the palette, or a common plate, a little of each of the 
colors to be used; if it is necessary to mix any of the- colors to get any de- 
sired shade, it should be done with the palette knife. To do the painting 
hold the pen bottom up; take the paint up in the hollow of the pen, shovel 
fashion; wipe the paint from the back of the pen with a piece of old cotton 
cloth, kept for the purpose. Then draw the point of the pen, with the back 
toward the material, over the outline, turning the pen slightly as you draw 
it, in order to make the outline clear and sharp. Next fill the pen and 
apply the paint to cover the inside of the petal or leaf, drawing the pen 
toward the center, as the stitches are taken in embroidery. Apply the 
several shades used in this manner, blending them together with the pen. 
After this scratch the leaf over with the point of the pen to give it the ap- 
pearance of stitches, remembering to make the lines run towards the center, 
as in embroidery. If you wish to make the work finer, a needle can be 
used to do this part of the work. 

In painting petals or leaves, begin from the outer edge and paint to- 



BRUSH AND PALETTE. 285 

ward the center. Lay on the principal colors first, afterwards the darker 
shades and high lights, blending with the pen. 

For such flowers as golden rod, coxcomb, sumac, and for the pollen or 
anthers of other flowers, the paint is best applied by dabbing it on with the 
end of the brush. The knack will be caught with very little practice, and 
then no further trouble will be met with. 

The "feather stroke" is made by taking the paint up in the 
hollow of the pen, and from the outer edge of outline of design make a 
clear stroke to the center, twisting the pen in the fingers in order to make 
the paint stand out roundly from the material. Place another stroke beside 
the first in the same manner, but do not attempt any other blending 
of colors. 

Use turpentine or poppy oil to thin the paint with when necessary, 
also to act as a dryer. 

Parrots in Kensington Painting. 

A large parrot is a good design for fire screens or wall banner, and 
small ones form an effective decoration for the blocks of a fancy quilt, 
cushion or wall pocket. A moderately coarse pen and the following paints 
will be needed: Silver white, Vandyke brown, chrome yellow, Chinese 
vermilion, chrome and emerald green, Prussian and cobalt blue. 

Paint the branch with Vandyke brown, to which a touch of chrome 
green and white have been added. This and the leaves can be done with a 
brush. Make the leaves of chrome green, and shade them by adding a 
little white and a touch of yellow. Paint the bill pure white, using the 
brush. For the front and back of the head use Chinese vermilion, apply- 
ing the paint with the pen, doing the "feather stroke." Take the paint up 
on the imder side of the pen, place the pen down firmly on the 
goods and draw it toward you. Use chrome yellow for the eye, 
and paint the neck with chrome yellow, lightened with a little 
white. For the breast, mix equal parts of emerald green and chrome 
yellow. Use a little brown and yellow for the feet. Edge the wing 
with a stroke of Chinese vermilion, and then one of yellow. Paint 
the inner part of the wing with Prussian blue and green, mixed. Paint the 
inner tail feathers with the chrome green. The back of the wing should 



286 DAINTY WORK FOR PLEASURE AND PROFIT. 

be greenish-blue, made by mixing chrome green and cobalt blue. Paint the 
tail itself with a first stroke of Vandyke brown, then one of white, and 
another of Chinese vermilion. Around the eye draw a circle of light 
brown, made of white, mixed with Vandyke brown. A fine brush may be 
used for this. The same directions would aoply for large or small parrots. 

Crayon Painting— Portraits. 

Portrait painting is a branch of " Brush and Palette " entirely distinct 
from the decorative methods we have been considering. Portrait painting 
should not be attempted without either a natural talent or instructions by 
a competent teacher, yet crayon portraits are frequently made by persons 
who have had no training whatever. The work is much simplified by the 
use of solar prints. 

Having secured a good photograph of the subject you desire to paint, 
send it to any first-class photographer with orders for a solar print, being 
careful to state the size you wish the picture enlarged to. A solar print is 
a shadow picture without details. 

The solar print secured, the following instructions for treatment will 
be found to yield satisfactory results. It is from the methods of one of the 
most successful portrait painters, and we submit it to our readers, feeling 
certain that it will be of far greater value than a half-dozen lessons from an 
inferior teacher. Practice, patience, perseverance, observation, are watch- 
words that should ever be borne in mind. Without them it were better not 
to attempt portrait painting. 

" First, as to materials required. For finishing in monochrome or black 
and white, finely powdered pumice powder will be required to give a tooth 
to the paper. Some paper stomps of various sizes, with at least six stip- 
pling stomps, a stick of crayon sauce, and Conte crayons, Nos. i, 2 and 3. 

" Have the print mounted upon good stout cardboard and well rolled 
— 7iot burnished. Pin it tea smooth drawing-board, and sprinkle lightly with 
the pumice powder. With a circular motion rub the surface of the print 
all over, till there is an even tooth over the surface of the print. Take a 
little crayon sauce and mix some of the pumice powder with it, in propor- 
tion of one of pumice powder to two of crayon sauce. Put this upon a 
piece of cardboard, to form a palette, and rub the tips of two fingers into it. 



BRUSH AND PALETTE. 



287 



and rub on the print, upon the background, over the shoulders. Never mind 
its going into the drapery or face; it can be removed. With vignette por- 
traits a light, cloudy effect over each shoulder is best, making it a trifle 
darker where it approaches the lighted side of face, and lighter on the 
shaded side, to give contrast. Make it darker than you intend it to remain 
to allow for the after treatment with the pumice powder. 

" When you have got in the effect of light and shade sprinkle a little 
of the pumice powder all over the picture, and lightly rub all over. This 
loosens the crayon and gives softness and distance. Take the Conte crayon 
No. 3 and go over the deeper shadqs of the drapery, marking them in very 

strongly; then soften them with the fingers, 
graduating them where it may be wanted. 

"Next take the Conte crayon Xo. i, cut it to 
a rough point with a knife, and finish upon a piece 
of Xo. I emer>' cloth. With this deepen the line 
of the eyelash, the marking of the nostrils, the 
division between the lips, the eyebrows and mark- 



p/.'^ •-'^'\^^f^''^^w^t^^ insf of the hair, softening where vou think it nec- 
■_S^?'^i^yi^-f ^ ii essan.- with one of the small stomps or the fingers. 

"Take Conte crayon Xo. 2, make a point in 
the manner already described and deepen the 
pupils of the eyes and the lines around the eyes. 
Mark in the shadows in the ear and under it, 
FIG. 274. around the chin and upon the neck, under the 

chin and under the eyebrows, and down the shadow side of the nose and 
forehead, and any other shadow which needs strengthening, softening 
and graduating where necessar}-. 

"Xow pause and go back over the whole work. You will see that, 
starting with a strongly printed 'solar print, the whole work has been 
nothing more than deepening the photographic shadows and graduating 
them into the lights. If this has been done carefully there will be no loss 
in resemblance, and the picture has gained vastly in strength. 

It is now time to add finish, and that is done by filling up with the 
point of an H H lead pencil any breaks in the graduation of the shadows, 
and in taking out the highlights. This part is done by making a fine point 





288 DAINTY WORK FOR PLEASURE AND PROFIT. 

with the emery cloth, and working out any spots with a light circular rub- 
bing touch. As you go on with the finish you will find, perhaps, that your 
shadows want deepening. This can be done best with the stomp and 
crayon sauce for broad effects, and the No. 2 Conte crayon for decisive 
touches. 

" For taking out highlights a piece of hard ink-eraser will be wanted, 
mounted in a porte crayon, and cut to a flat point. The lights to be taken 
out are upon the forehead, down the nose, upon the cheek bone, and upon 
the chin. Clean off with the ink-eraser white drapery or white collar, and 
with a fine point take out the highlight on the eyes. Sometimes on light 
hair a few judicious touches with the ink-eraser upon the highest lights 
will effect a great improvement. 

For the finishing touches go carefully over the face, filling up any 
breaches in the graduations, deepening, if necessary, with a stippling stomp 
and crayon sauce, the upper lip. Shape the lower one with the point of the 
stomp, and deepen the shadow under it. Round the lower part of the chin, 
and put a little delicate shadow on the light side of the forehead and the 
shadow which is upon the cheek from the ear to the curve of the nostril. 
Keep the ear back by keeping it in soft, delicate shadow. Go over the half- 
shades of the hair with the same stomp and crayon sauce, and when all 
these delicate half-tints have been attended to, finish by a few vigorous 
touches with Conte crayon No. 3 upon the darkest shade of the drapery, the 
pupils of the eyes, the deepest shadows of the hair, the shadows under the 
eyebrows and down the nose, the nostrils and under the chin. 

" This treatment is for vignettes of a half or three-fourths length. 

"The background will want somewhat different treatment. The crayon 
sauce and pumice powder may be utilized all over the background, keeping 
the lightest side of the figure darkest in the background, making the lower 
part of the background graduate darker as it gets lower, and finishing by 
broad hatching with the stomp and crayon sauce. Keep the lower part of 
your picture lower in tone altogether than the upper part, so that the con- 
centration will be upon the face as the powerful part of the picture and let 
all your touches be more and more undefined as they recede from it. All 
the sharp, crisp touches should be upon or near the face." 

There is no form of art work that yields better returns for time and 



BRUSH AND PALETTE. • 289 

skill required than crayon portrait painting. An expert artist easily paints 
three to four full-length portraits in a week, and the average price ranges 
from $10 to $2^ per picture. The solar prints cost $1.50 to $2,00 each, so it 
can be seen that it will repay the time spent in learning how to work with 
the crayon. Again orders can be secured for portraits when all other paint- 
ings are a drug on the market. We do not pretend to have exhausted the 
subject, but merely to have pointed out the road to follow in order to reach 
success. 

Painting on Birch Bark. 

The inner layers of birch bark offer a beautiful background for sepia 
painting. Sepia is a beautiful dusky brown, very powerful and harmonizes 
perfectly with the tawny color of the bark. It is diluted with water and 
used like any of the water colors. 

The bark should be selected and prepared with great care. Three 
thicknesses will be sufficient to leave together, while if it be more finely 
subdivided it will not have sufficient body for making into ornamental 
articles. This dividmg and splitting must be done when the bark is first 
pulled from the tree, and it should be immediately pressed flat under 
weights in order to prevent the edges from curling. As the bark from 
young trees is the most desirable, it follows that the pieces secured are in 
small sections, therefore the designs selected must be reduced to miniature, 
which can be done by means of the pantagraph. 

To paint: Place the bark on the drawing board, carefully secured at 
the corners. Place the board in a slanting direction, and sponge the bark 
over with clear water. This is done in order to make the bark take the 
color. 

Small landscapes are best suited for this background and should be 
painted in regardless of small details. Cover the principal outline with 
the sepia, carried in a No, 2 brush. A larger brush may be used for c'oud 
effects, which should be put in with Chinese white for the light ones and 
warm sepia for the dark ones; the natural bark will serve for the general 
sky tint. If the shadows are too deep absorb the superfluous color by press- 
ing over it a bit of blotting paper. Aside from landscapes, floral designs — 
very simple in arrangement — are exquisite painted on the bark. Follow 
the directions given for water color painting. The decorated pieces of bark 



290 



DAINTY WORK FOR PLEASURE AND PROFIT. 



can be made up into numberless pretty trifles — as a cover for tablets, an 
inlaid panel on a blotting pad cover, a telegram holder, or a pretty easel 
picture can be made by placing the bark in the center of a square of ecru 
rice board or leatherette. To mount 
the bark slit the leatherette or board in 
two diagonal lines near each corner, and 
slip the edge of the bark through. 

Scorch Painting. 

This form of painting is enjoying a 

revival of popularity and bids fair to 

become a popular craze. It is a revival 

of the ancient art of pyrography, and, as 

DETAIL A, Fi'^275. its name indicates, is done by burning detITI b, Fia 275. 

the design on wood with a hot poker or platinum point. 

Scorch painting offers teachers an almost unexcelled opportunity for 
forming classes at profitable prices, as the work is fascinating in the doing, 
beautiful and artistic when done, and easily learned. Aside from the profit 
of teaching, well-executed designs find ready sale. 

Very little is known of the method of doing scorch painting, and the 
field is practically in the hands of the energetic artist who chooses to give the 





timetopaint- 
and forming 
pies are all 
essary to en- 
most conser- 
The outfit 
for scorch 
consists of 
called the 
which sup- 
necessary for 




ing samples 
classes; sam- 
that is nec- 
thuse the 
vative. 
n ecessary 
painting 
a machine 
" \^ ul c a n," 
plies the heat 
heatincT the 



FIG. 275. 

platinum points or pencils, and regulates the intensity of heat desired. Its 
manipulation is very simple and easily learned. In addition to the " vul- 
can," points of platinum, which come in a box of assorted sizes, and patterns, 
will also be necessary. The entire outfit, consisting of the vulcan, assorted 



BRUSH AND PALETTE. 291 

platinum points and benzoline, can be procured for ^5.00, and there the 
expense for materials ends. Of course, the article to be decorated is not 
included. 

The woods best suited for scorch painting are holly, sycamore, lime and 
even bass wood. This latter wood is cheaper than the others, and is best 
adapted for practice work. Other wood may be used with good results, as 
oak, ash, elm, chestnut, cedar and teak. Sycamore is by far the best for 
fine, delicate work. 

The platinum points should be used with extreme care, as they are the 
most costly part of the outfit. 

The designs for scorch painting may be floral, landscape, animal or 
figures, either natural or conventional; the detail should not be minute, but 
rather the design should be clear-cut and expressed by sweeping strokes. 
The design may be stamped on the wood by means of perforated pat- 
terns, where the worker does not draw — and indeed for purposes of class 
work it is by far the better plan to stamp the design at once. 

Full instructions for using the vulcan and points are supplied with the 
outfit. When starting the scorching, the point must be heated in the spirit 
lamp, but afterward it will not be necessary to repeat the operation, as the 
bellows maintain and regulate the heat. 

In teachingoneself or others the mode of scorch painting^ it is excellent 
practice to make strokes, oblique, straight, circular, etc., with the different 
points, as they will show gradations of tone and will give ideas for treating 
rounded surfaces and backgrounds. The strokes must be bold and firm. 
The background may be either dark or light, but if light, then the design 
must be dark, and vice versa. 

Effective results are obtained by burning away the background deeply, 
leaving the design in low reLef. 

Scorch painting will occupy a high place in decorative work, as it 
can be used for so many architectural details, as paneling for dining room or 
library, frieze for hall or library, while tops of tables, pianos, etc., can be 
rendered beautiful by its employment. 

The teacher who intends to undertake scorch painting for profit, 
must be thoroughly prepared at all points. First, she must have become 
proficient in the different strokes; the use of the different points, and the 



292 DAINTY WORK FOR PLEASURE AND PROFIT. 

manipulation of the vulcan, all of which can be learned without other aid 
than here given, if perseverance and common sense be brought to bear upon 
the subject. The learner's best aid first, last and all the time, is patient 
practice, coupled with observation. 

As will be seen, beautiful effects can be obtained by light and shade, in 
the scorching, so that attention should be paid to this part of the work. 
High lights and shadows should be sharply accented, otherwise the work 
will present the appearance of flat lines, scorched on a flat surface. 

Simple outline designs should be tried first, after the various strokes 
have been practiced, and the burning in of shadows should be approached 
gradually. The same rule for perspective, roundness and body given for oil 
painting obtains in scorch work, and should be applied, or else the work 
will not have been brought to its best possible state of perfection, and half 
its artistic beauty will be lost. In preparing for a class, the teacher should 
see to the selecting of the practice wood; in fact, the better plan is to sup- 
ply each pupil with a piece of clean wood for the purpose of practicing the 
strokes, and another piece on which has been stamped a simple landscape 
design — a road, a tree, a bit of fence answering admirably. Such patterns 
are kept in stock by the best pattern houses. Do not supply pupils in the 
same class with the same design, as the work will become too monotonous. 
In addition to the two pieces of the wood the teacher should also supply 
the outfit of tools for the work, where at all possible, as by this means all 
the pupils will be uniformly accoutred for work, and there will be no hitch 
or delay because some pupil has forgotten to supply herself with some part 
of the outfit. 

The usual price for a course of five lessons in scorch painting is ;?6.oo, 
and a teacher can do full justice to a class of six pupils at one sitting. 

Tapestry Painting. 

Tapestry painting is one of the most practical of the decorative arts, as 
larger schemes of decorative work can be carried out by its use than by any 
other form of painting within the reach of the masses. In this chapter no 
exhaustive details can be gone into, but in the few pages devoted to the 
subject sufificient instruction will be clearly given to enable one who has 
had some experience with the brush in either oil or water colors to prosecute 



BRUSH AND PALETTE. 



293 



the work successfully without other aid; while for the woman who has 
never used the brush the hints here given will save many dollars and much 
time and, it may be, some discouraging failures in experimenting, either 
alone or with the aid of the teacher. We advise personal instruction for 
the novice to the extent of a few hours at least, yet the pupil should go as 
far as possible alone, using the instructions here set down. In cases of rare 
art talent further aid might not be needed. 

Tapestry painting, as its name implies, is painting with specially pre- 
pared dyes on wool or silk ribbed canvas, to imitate the old woven tapes- 
tries. It is used for furniture covers, wall hangings and screen panels. 

The designs are usually landscape, figure, or large floral, fine details 
and miniature designs not being suitable. His- 
torical scenes are by far the most satisfactory de- 
signs for this work — as Queen Mary of Scot's 
meeting with Elizabeth in the garden after the 
signing of the death warrant, scenes from Riche- 
lieu, Romeo and Juliet, the Chase, showing hun- 
ters and dogs, etc., are all effective. As very 
few, if any, perforated patterns are made for this 
form of work, the old engravings and wood prints 
to be found in French journals and books will 
serve as excellent studies. A simple subject 
should be selected first, and the engraving or cut 
transferred to the canvas by means of the panta- 
graph, and this should be done with the utmost 
care so as to secure an exact tracing. For the 
beginner it will be safer to transfer the picture the 
desired size to good bond paper first, after which the lines can be pricked 
through with a fine pointed needle, which will give a perforated pattern, by 
means of which the design can be stamped on the canvas, using the powder 
for this purpose. 




FIG. 276. 



Canvas for Tapestry Painting. 



There are various kinds of canvas sold for tapestry painting, but the 
best will be found to be Binant wool canvas. This canvas can be had in 



294 DAINTY WORK FOR PLEASURE AND PROFIT. 




WINDOW DRAPERY OF WABAN NETTING OVER LACE. 



BRUSH AND PALETTE. 295 

various widths and for various prices. The following table, from an art 
supply catalogue, will be of assistance in selecting canvas. 

No. I, 84 inches wide, coarse thread, best quality, per yard, ;g6.i5; No. 
I, 122 inches wide, coarse thread, best quality, per yard, ^8.00; No. 2, 84 
inches wide, fine thread, best quality, per yard, $6.1$; No. 5, 56 inches wide, 
coarse, dark, best quality, per yard, $3.75; No. 7, 36 inches wide, fine, best 
quality, per yard, S2.00; No. 8, 84 inches wide, fine, best quality, per yard, 
^4-00; No. 9, 54 inches wide, medium, best quality, per yard, ^3.00; No. 14, 
50 inches wide, silk, ecru color, per yard $8.00. 

There are other widths and qualities made which any dealer can 
procure. 

Nearly all art stores have small pieces of these tapestry canvases ready 
stretched in stretchers, which will be found cheaper to commence on than 
to purchase by the yard, as in this case the whole width must be paid for 
whether one has use for it or not. 

For large subjects the coarse vanvas will give best results. 

To prepare the canvas for painting is a most particular part of the 
work. For small pieces the canvas can be stretched in an embroidery 
frame exactly as for a piece of embroidery; see chapter on " Implements." 
If the subject is large a pair of light quilting frames may be utilized. The 
frames must of course be clamped to the desired size. Tack the canvas to 
the ends and lace it to the sides. Secure the corners firmly in place before 
lacing. 

Dyes. 

The dyes used for tapestry painting are French dyes, but there are 
different methods of preparing them, and this constitutes the difference in 
their artistic values. M. T. Wynne advises the use of the Grenie dyes, and 
having used them in our own work with uniform success we endorse the 
opinion of our esteemed confrere. 

The Grenie dyes are advertised as indelible, and so far as our expe- 
rience goes we have found them to possess this quality. There are thirteen 
colors, indicated by numbers, from one to thirteen inclusive, as follows: 
indigo, ultramarine, rose, vermilion, cochineal, Indian yellow, burnt sienna, 
brown, gray, violet, green, gray green, black. 



296 DAINTY WORK FOR PLEASURE AND PROFIT. 

The Grenie dyes are a little more expensive than others on the market, 
but knowing that the best is ever the cheapest, in painting materials at 
least, we do not mention others. The cochineal and indigo are sold for jO 
cents a bottle, while the other colors are only 20 cents. There is a medium 
for mixing the colors that is indispensable; it is sold in pint bottles, and 
costs 40 cents per bottle. 

Brushes. 

Next to the colors in importance is the question of brushes. It means 
absolute failure to attempt tapestry painting with the ordinary brushes. 
At least one dozen brushes, assorted sizes, from No. i to No. 12, made 
especially for this purpose, should be procured. They are made of stiff 
bristles, and cut in the shape of a chisel. For large surfaces a double var 
nish brush, cut down a little to stiffen it, is recommended by artists for 
skies. Glass palettes should be procured, and also several glass jars for 
mixing the colors; two or three of a larger size, for mixing large washes in. 

Mixing the Dyes. 

The dye colors are exceedingly crude in the pure state, and therefore 
should be toned down with complementary shades. The colors that are 
made by mixing are: brown, made by mixing indigo, burnt sienna and vel- 
low; gray, made by mixing indigo, cochineal, yellow and a little burnt 
sienna; gray green, made by mixing indigo, yellow and cochineal. The 
shade required of each of the foregoing colors must, of course, be deter- 
mined by the proportion of the mixture. 

All colors in which a sediment settles in the bottom of the bottle must 
be shaken before being used. 

No color should be used without first mixing it with some of the me- 
dium, and a certain amount of water. A pen knife and steel eraser, not too 
sharp, and rounded at the points, are necessary and important articles of 
the tapestry painting outfit. 

When the painting is finished, Wynne strongly insists upon the neces- 
sity of steaming the work, either at home, over a specially constructed 
steamer, or failing in this method, advises sending the work to a regular 
dying establishment. Doubtless this procedure would add to the indeli- 
bility of the work, but in our experience we have found the following much 
more simple and quite satisfactory: 



BRUSH AND PALETTE. 297 

Place the painting on the table, face up; wring out a thin woolen cloth 
in cold water and place it smoothly over the work; over this again place a 
dry cotton cloth, then with a hot iron go over the whole until the woolen 
cloth is thoroughly dry. This method serves to subdue, soften and mellow 
the dyes, taking away the crude and glaring effect that is sure to be felt by a 
person of artistic susceptibilities, unless this subduing process is resorted to. 

Flesh Colors. 

As figures are largely used as subjects for tapestry painting, a few 
remarks on flesh painting will be acceptable to the amateur, at least; and as 
our own knowledge of the art has been gained by a close following of the 
method employed by Wynne, we cannot do better than introduce the 
reader to his method for flesh, skies, foliage, etc.; adding from time to 
time points that have been learned from that best of all masters, "expe- 
rience." To proceed, then: 

Flesh Painting. 

The brushes for painting flesh colors should never be used for any 
other purpose, as the entire work depends upon their being free from even 
a suspicion of other colors, and they should occasionally be cleaned with 
soap and water. The colors used for painting flesh are, burnt sienna, rose, 
yellow and indigo; the palette is extremely simple, but other color or colors 
must never be substituted for those given. 

Place on the palette two shades of burnt sienna. For fine work use the 
finest brush, and put in clearly and with a firm hand the deepest markings 
of the eyes, nostrils, lips, ears and fingers. Then with a large brush wash 
in the broad shadows, using the paler shade of the burnt sienna. Be care- 
ful not to touch the broad highlights. If the eyes are brown they may be 
put in with burnt sienna, also. This part of the work is called modeling, 
and after it is quite dry the local tone is washed over all the flesh, including 
shadows, using again the burnt sienna, but so much diluted as to merely 
tint the medium, which should be added to it without any water. For a 
dark, sallow complexion^ befitting an Othello or a Spanish knight, add a 
touch of yellow to the sienna. In applying this local wash it should be 
scrubbed into th.; canvas until every thread is thoroughly colored. The 
shadows must be counteracted with green made of indigo and yellow. 



298 DAINTY WORK FOR PLEASURE AND PROFIT. 




LIGHT DRAPERY FOR PORTIERES. 



BRUSH AND PALETTE. 299 

Make two shades of the green of about the same relative strength as the 
two shades of burnt sienna used for putting in the shadows. Before apply- 
ing the green, tint the cheeks with rose. Do not allow the greens to run 
beyond the shadow color. 

If the red in drying works up too much, add more green; but if the 
green is too strong, work in more burnt sienna. 

The sharp markings must not be painted in until the previous washes 
are nearly dry, or the color will spread. 

When the first flesh painting is perfectly dr>', and you must be sure about 
this, add a touch of rose for the lower lip, model the highlights by scraping 
very gently with the rounded point of the knife or eraser. This gives the 
picture artistic finish, and is effective, as the color still remains in the ribs 
of the canvas, while the knife removes only that color lying on the surface, 
giving a stippled effect. You are now ready for the second flesh wash. 
Put on the glass palettes the four colors previously given for flesh painting, 
and apply. Make another tint by mixing green and red together. This 
mixture will be needed only for touching up and delicate modeling. The 
markings df eyes, ears, lips, nostrils and fingers must be strengthened. 
The use of the knife between the shadows and highlights will produce the 
pearly tints necessary for softening the flesh tones and blending massed 
light and shade. 

Hair and Drapery. 

In painting hair, lay in the color in broad masses of light and shade. 
For golden hair, make a palette of a pale yellow and a very small amount 
of rose. The shadow color is made by mixing yellow and brown and a 
little rose with these colors. Any shade of hair, from light flaxen to golden 
brown, can be made by simply varying the proportions of the same color. 
While Hayward advises the use of brown, yellow and rose for the shadow 
color, yet in our own work we frequently omit the rose, finding the yellow 
and brown sufficient; but in case there is difficulty in getting just the satis- 
factory proportions of each color, the addition of a very little rose will 
often solve the difficulty, and give the exact shadow required. It will mod- 
ify the greenish effect caused by too great preponderance of yellow in the 



300 DAINTY WORK FOR PLEASURE AND PROFIT. 

first mixture. For dark hair, mix the burnt sienna with the medium, and 
much or little water, according to the shade required. If nearly black hair, 
add a little indigo to the brown, and for the local wash add gray to the 
brown. 

For painting in draperies, we have followed the method laid down by 
Wynne for beginners. It was the one first practised in our work, and hav- 
ing always given satisfaction we see no reason to change it in our later 
work: Model all the shadows before putting in the local tint. Put in the 
darkest shadows first, then the next tone, leaving the delicate half-tones to 
be added when the local wash is nearly dry. Lay the local tint over both 
light and shade. This will complete the first painting. There remains only 
to accentuate the shadows and scrape the highlights wherever needed, to 
give brilliancy. There are no definite rules laid down to guide the artist in 
regard to the coloring of draperies; the harmony of colors must, of course, 
be considered, but we will say in this connection that all kinds of fabrics 
may be reproduced in tapestry painting by simply giving attention to the 
falling of lights, as all the difference lies in the fact of their being soft or 
sharp. All the tapestry dyes can be mixed with each other, and the most 
satisfactory method is to mix and mix, strengthen and weaken — trying the 
colors on a bit of canvas — until the desired colors and tones are secured. 

We will append here the result of a few experimental mixings. 

Colors for Draperies, Greens, Earth, Marble, Stone, Sky, Fore- 
grounds, Trees, etc. 

v5/«£'.— Local wash, indigo diluted until very pale. For shadows, indigo 
blue, gray and a little orange. Make the orange with burnt sienna and 
yellow. 

Salmon Pink. — (This is a color very effective for draperies, slashings, 
etc.) For the local tone use rose diluted with medium and water until very 
pale, to which a very little green has been added. For the shadows use 
brown, to which has been added a little rose. 

White. — For shadows, gray; the canvas will do duty for highlights. 

Violet. — Local wash, rose and ultramarine; for shades and shadows, 
indigo and cochineal, with a touch of burnt sienna in the shadows. 



BRUSH AND PALETTE. 301 

Yellow. — Use a mixture of brown and yellow for shadows; use pure yel- 
low for local wash. 

Pale Lavender. — Light wash ultramarine and rose; shadows, ultrama- 
rine, rose and burnt sienna. 

Heliotrope. — Ultramarine and rose, and burnt sienna for shades; for the 
local wash omit the burnt sienna. 

Terra Cotta. — Brown, rose and yellow. Use less brown for the local 
wash. 

Sapphire Blue. — Indigo, rose and ultramarine. 

Olive Green. — Burnt sienna, yellow and indigo. 

Turquoise Blue. — Emeraude green and ultramarine much diluted for the 
local wash; for the shadows add ultramarine and orange. 

Ashes of Roses. — Local wash, rose diluted with water to a mere tint; for 
the shadows mix brown, rose and gray. 

Greenish Gray. — Indigo, yellow and cochineal. 

Mahogany. — Mix brown, yellow, burnt sienna and rose. For the high- 
lights omit the brown; add a little indigo for the darkest shadows. The 
effect of polished mahogany can be obtained only by paying attention to 
the reflected lights. 

Crimson. — Cochineal for local tone, adding a little rose for highlights 
and brown in the deepest shadows. 

Golden Brown. — Mix brown, yellow and rose for the shadows, and yel- 
low and rose for the local tint. 

Gray Green.— Mix indigo, cochineal and yellow. 

Deep Crimso7i. — Use cochineal, adding a very little rose, for the lights, 
and brown in the deepest shadows; if too warm soften with indigo. 

To Paint a Sky. 

In painting in a sky the methods of different teachers vary. That 
recommended by Hiller will perhaps be more readily comprehended by 
the beginner. "Select a large brush and commence at the right-hand cor- 
ner of the canvas, and with indigo mixed with the medium and nmch 
diluted with water, soak the canvas thoroughly. Be very careful about 
putting in the first wash; scrub it into the canvas thoroughly and evenly, 



3o: 



DAINTY WORK FOR PLEASURE AND PROFIT. 




DRAPED MANTEL- 



BRUSH AND PALETTE. 303 

otherwise it will dry with a spotted appearance. Carry this deepest shade 
as far down as necessary, then dilute it a little and carry it a few inches 
further down. With a clean brush wet the canvas a little below the hori- 
zon line with medium and water. Some workers omit the medium for pur- 
poses of economy, using the water only; but this is a policy that will not 
answer; satisfactory results cannot be obtained without the use of the 
medium. Soak the canvas thoroughly. Dilute yellow to a pale shade, 
also a little rose; place each in a glass by itself. Begin a little below the 
horizon line and paint in the yellow. Do not carry this tint as far as the 
blue. Next paint the rose color into the yellow, carrying it above the yel- 
low, and blend it with the blue. The above will give the rosy, purple 
shade seen in sunset skies. 

DECORATIVE PAINTING FOR PROFIT. 

In the chapter on " Dainty Work for Profit " the subject of decorative 
painting was not touched upon for the reason that it more properly belongs 
under the head of "Brush and Palette," and is of sufficient importance for a 
more exhaustive consideration than could have been given elsewhere. 

The ideal art bazaar or "fancy goods" store is not complete without 
a good assortment of artists' supplies, painted decorative articles, etc., and 
yet, strange to say, we rarely find the two combined. The stock is more 
easily handled, the profit greater, and the loss from out-of-date supplies 
less than in a needlework stock, yet women who enter the decorative busi- 
ness fight shy of it. 

This state of affairs probably arises from the fact that, as a rule, women 
are better posted on needlework than on painting. The latter art is en- 
shrouded with a good deal of mystery, from the fact that artists treat the 
subject technically, and the poor layman or laywoman is terrified by the 
sound of unfamiliar terms, and at once conceives the idea that painting is an 
art to be attempted only by fortunates especially endowed by the gods with 
a "peculiar genius." 

This may be all very well from an ideal art standard, but from a deco- 
ra'-ive point of view is sheer nonsense. Any woman with brains enough to 
run an art bazaar or store, has talent sufficient for doing a line of profitable 



304 DAINTY WORK FOR PLEASURE AND PROFIT. 

decorative painting. A good eye for the harmony of colors and a steady 
hand, trained to follow outlines, is all that is necessary for this branch of 
work. 

Lack of knowledge in the art of drawing has always been the great 
stumbling block to endeavor in this direction, but the beautiful artistic de- 
signs gotten up in perforated patterns does away with this obstacle and 
opens the wide field of decorative painting to the dealer in art supplies. 

The dealer who can use the brush has at her command an infinite 
variety of ways in which left-over scraps of silk, linen, ribbon, etc., can be 
worked up into saleable novelties with the least possible outlay of time and 
money. The decorative painter need never be at a loss for fresh and at- 
tractive window display, and her show case will be filled with small novel- 
ties that find ready sale at good profit in their respective seasons. Classes 
in decorative painting are always a powerful factor in drawing trade, and 
stimulating interest in fancy work generally. Many ladies who would 
never think of embroidery are easily enthused on the subject of painting. 

A word of warning may not come amiss at this point: Do not make 
the mistake of undertaking too ambitious flights in the realm of art but con- 
fine your efforts to simple decorative painting, which will leave no room for 
criticism. 

The instructions given in this chapter are sufficient to give the dealer 
or teacher full command of the best and easiest methods of doing the dif- 
ferent styles of painting. In giving lessons the different methods of deco- 
rative work with the brush should be kept carefully distinct from each other. 
Thus pupils in a class of water color painting on fabrics should be kept 
faithfully to that subject, and not allowed to talk about Paris tinting or oil 
painting on celluloid. 

In the present chapter will be found illustrations of several beautiful 
novelties that will repay the dealer who will make them up and put them 
on exhibition in show case or window. 

The amount of painting supplies to be carried in stock will, of course, 
depend entirely upon the extent and kind of trade each dealer has, but the 
following are staples and will be needed by all. Other novelties can be 
added from time to time, as the demand for this kind of work increases: 



BRUSH AND PALETTE. 305 

Oil Paints in Tubes— A good assortment of Winsor & Newton's oil 
colors should be carried in stock. Those colors given in the preceding 
lessons will be found practicable. It will not be found sound business 
policy to induce customers to purchase a large line of made colors, when 
three or four will answer as well, provided a little instruction in mixing 
them is given, and this should be ^eW«, for the less expense attached to 
any kind of decorative work, the more of that work will be done, and small 
profits and quick sales is the surest and best policy always, especially 
is this true in a trade that depends upon women for its best patronage. 

Water Colors— The moist colors that cohie in little pans will give 
better satisfaction than those put up in cakes. The necessary colors for a 
varied line of decorative work are as follows; Antwerp blue, burnt umber, 
burnt sienna, Chinese white, chrome yellow, chrome orange, emerald green, 
gamboge, ivory black, yellow ochre, terra vert, Vandyke brown, Venetian 
red, vermilion, brown madder, carmine lake, crimson lake, scarlet lake, 
purple lake, lemon yellow, pink madder and sepia. 

For Paris Tints — Outfits consisting of the tints in bottles, with the 
diluting medium. 

Lustra Paints — Brocades, powders and flitters, as given under the 
head of "Lustra Painting." 

English enamels, gold paint in leaf and powder, gold size for mixing 
the gold powder, poppy oil, turpentine, should always be carried in stock, 
put up in convenient sized bottles. A good assortment of brushes, flat and 
round sables, from No. i to No. 12; a few badgers, palette knives, easels, 
palettes and brush cleaners should be included also. 

If any interest is manifested in tapestry or fabric painting, then supplies 
for that work should be added, the colors and materials for which will be 
found under the head of "Tapestry Painting." 

A small supply of ivorine, glassine, celluloid, parchment, bristol board, 
leatherette, eggshell board, chamois, ooze leather, glass and wood, should 
be kept constantly on hand, as nothing so much conduces to a falling off in 
interest on the worker's part as being obliged to wait while the dealer sends 
to some distant city for supplies with which to prosecute the work. A 
small assortment of china and porcelain placques, easel stands for small 



3o6 



DAINTY WORK FOR PLEASURE AND PROFIT. 




DRAPED EASEL. 



BRUSH AND PALETTE. 



307 




pictures, a few plush frames, etc., decorated, will make a most attractive 
display for little outlay of money. A very fair artist's supply or stock can 
be put in for from;^75 to Sioo, and can be made to yield a profit of nearly, if 
not quite, 50 per cent, and this aside from money obtained from teaching, 
and profits accruing from the ability to work off out-of-date fabrics for 
needlework. 

In addition to the above enu- 
merated articles it will be a profit- 
able investment to add a choice 
selection of designs, perforated, 
especially suited for decorative 
painting. Designs for painting 
FIGURE 277. are somewhat more expensive 

than those for needlework, but the dealer receives more for stamping from 
them than from the ordinary designs. If the 
business is exclusively devoted to artist's sup- 
plies a more complete line of artists' materials 
must be carried in stock than where decorative 
needlework supplies are combined with it. 
Chapter XVII will supply all necessary in- 
structions pertaining to that subject. 

Samples of decorative painting are a great 
stimulus to trade, and should be such as to 
appeal to the average woman, because there are 
more average women than there are exceptional 

ones, and it is from the former class that the figure 278. 

dealer receives the larger share of patronage. A painted plush-bordered 
table cover, a pair of painted pillow shams, a parasol cover delicately 
painted, a paper holder of celluloid also painted will appeal to ten women 
where a beautifully painted landscape would not appeal to more than ten 
women out of a hundred, and this is not because of a vitiated taste in art 
matters so much as a feeling that the lower form is within the compass of 
their talents, while the greater work seems so far away and beyond their 
grasp. 

A variety in the painted samples and a frequent change is desirable. 




308 



DAINTY WORK FOR PLEASURE AND PROFIT. 



Tapestry painting is most attractive when well done, as also tinted 
articles which have been described on previous pages. 



Flower and fruit painting 
the artistic grasp of most 
pretty bright bits of dec- 
have a few studies of fruit 
In leaving this subject 
ersthat the subject of dec - 
by no means exhaustively 
introduced to your notice, 
that the industrious, intel- 
herself proficient in those 
of and at the same time 
road leading to the higher 
words written shall but 
issue with the beautiful, 
repaid for her labor in this 




seem to be quite within 
women, and as they make 
orative work, it is well to 
and flowers. 

we must remind our read- 
orative painting has been 
treated, rather merel)- 
but in so practical a form 
ligent woman may make 
forms of painting treated 
make progress on the 
forms of art work. If the 
inspire one woman to try 
the writer will feel amply 
direct ion, not alone 



FIGURE 279. 

because of the added profit to the dealer, but because of a wider knowledge 
of Art, which will be disseminated through her advocacy of it. 




CHAPTER XVI. 




LACE STITCHES AND DESIGNS. 



HE FASCINATING work of lace-making has 
become quite the rage during the past fev« 
years, and as knowledge of the work becomes 
more general its beauty and great value will in- 
duce many ladies to undertake its manufacture 
who could never be induced to investigate the 
mysteries of other forms of decorative work. 
In the following pages we have attempted to 
give detailed instructions, profusely illustrated, 
for making the stitches most commonly em- 
ployed in this work. The designs of patterns given for handkerchiefs, cen- 
ters, borders, ends, etc., may be transferred to the tracing cloth, enlarged to 
any size desired, by means of the pantagraph, and form a very valuable feat- 
ure of this chapter, as the perforated designs are quite expensive. The 
enlargement of the designs in this chapter should be four times the size 
here given, each way, for the best effect. There has been but little printed 
on the subject of lace making in this country. Mme. Guyon, a French lady, 
brought out a few years ago, a small pamphlet on the subject, and from its 
pages nearly all the magazine articles on " Lace Making" have been 
taken, in a form so incomplete and mutilated as to be of little practicable 
value. 

The instructions necessary for a beginner are simple, and must be exactly 
followed. Deftness of manipulation can be acquired only by patient prac- 
tice, and this practice must be gone through with, as exactness of detail is 
absolutely necessary for the securing of beautiful results. 



310 DAINTY WORK FOR PLEASURE AND PROFIT. 




PLATE I. 



LACE STITCHES AND DESIGNS. 311 

Point lace and Honiton lace are made on a foundation design of braid 
which is sewed to the outlines of patterns, and the spaces are then filled in 
with the various lace stitches. In brief this is all of mystery of lace making 
there is about the work, yet how much is covered by these brief words. 

Materials for lace making are simple, and consist of tracing cloth, a 
foundation of soft oil cloth, such as is used for table and shelf covers, or 
leather will answer, but is more expensive, braids of various styles and sizes, 
lace threads and designs. 

Figures i, 2, 3, shows several of the braids used in this work. As will 
be seen they are of varying sizes and styles and are designated by numbers. 
Each manufacturer using a different number. The numbers given below 
can be readily placed from the accompanying illustrations. 

No. 4722, 420, 402, 347, 652, 145, 697, 4886, 52, 505, 503, 388, 287, III, 
128, 564, 155, 319, 510,416, 344, 384, 367, 368, 414, 365. The prices for which 
the best English braid can be secured ranges from 7 cents to 50 cents per 
piece of six yards. 

The thread for working the lace stitches should be of the best linen, 
and is sold in balls. The threads are of different sizes, indicated by num- 
bers, 300 to 1500. No. 300 indicating the coarsest thread used and No. 1500 
the finest. These threads should not cost more than 5 cents per ball, as 
that is the price usually charged by the large establishments carrying a 
line of lace-making materials. 

Tracing cloth is made 18 incheswide and may be purchased by the yard, 
the usual price being 25 cents. 

Designs: special designs for point and honiton lace may be had from 
the stamping pattern houses. They are made on good strong tracing cloth, 
which is all ready for tacking to the oil cloth foundation previously men- 
tioned. The designs are the most expensive part of the outfit. A hand- 
kerchief pattern costing 50 cents, a design for infants cap 35 cents, a collar 
35 cents, a fischu 75 cents, a deep border Si.OO, and so on. Therefore it 
will be seen that where good lace designs can be copied from books or 
magazines a considerable saving will be effected. 

Laying the Braid. 

Outlining the design with the lace braid is the most particular part of 
the work as upon the neatness with which it is done depends the entire 



312 DAINTY WORK FOR PLEASURE AND PROFIT. 




LACE STITCHES AND DESIGNS. 



313 




effect of the finished piece. When possible, piecing the braid should be 
avoided; sometimes it is absolutely necessary, and great care must be ex- 
ercised in this operation. To join: stitch the braid together firmly, open 

the seam and turn back the edge, 
stitch the edge down separately. 
In passing the needle from one part 
of the braid to another run along 
the center of the braid, keeping the 
stitches as nearly invisible as possi- 
^ ble. In commencing the laying of 
braid make a few stitches, leaving 
the end of the thread on the wrong 
side and cutting it off afterward. In 
fastening the finishing make a tight 
buttonhole stitch, run on two or 
three stitches, take the needle to the 
HANDKERCHIEF CENTER. back of thc work and cut off. 

Time, care and patience must be given to this work. 

Fig. I, plate 2, illustrates the method of outlining design with braid. The 
illustration shows thc pattern stamped on tracing cloth, which, in turn, is 
tacked to a foundation of oil cloth. Commence the design by running on 
a straight line of braid across thc bot- 
tom of the paUern, (some teachers in- 
struct pupils to run the braid on in the 
center, and this method is shown in the 
figure, but the safer rule is to fasten 
each edge with the tiniest imaginable 
over-stitches.) Commence to lay the 
braid from left to right. For the circles 
in the design take another piece of 
braid and lay it in position by running 
stitches through the center being care- 
ful to keep the braid as smooth and handkerchief square. 
even as possible. There will be no trouble with the outer edge, but the 
inner edge will present some difficulty to a beginner. 




314 DAINTY WORK FOR PLEASURE AND PROFIT. 




PLATE 3. 



LACE STITCHES AND DESIGNS. 315 

In order to make the inner edge lie even and smooth thread a No. 
9 needle with No. 500 lace thread, fasten the needle at one point and take 
a few running stitches along the edge of the braid, as a fine gathering, and 
draw the thread up slightly, this wifl force the braid into position. The 
same method must be followed by laying braid on a curve or half circle 
and two or three fastening off stitches should be taken. When each curve 
or circle is finished the gathering thread must remain on the work. 

LACE STITCHES, 

Having illustrated the method for laying the foundation of a design, 
the next step in the work is naturally the stitches to be used for filling-in. 
No large or important piece of lace work should be attempted until the 
stitches have been thoroughly mastered by persistent practice on small 
samples. 

The stitches used in point lace are divided into four sections, as fol- 
lows: stitches proper, or points; finishing edges, connecting bars, wheels, 
rosettes. As there are over 100 stitches used in making old point lace it 
will be seen that much study and many copies of old point must be gone 
through with to master all the beautiful varieties of stitches, and in a work 
'of this character all that can be successfully attempted is to instruct the 
novice in the simpler methods, illustrating the principal stitches, and the 
proper application of same. Sufficient knowledge may be obtained from 
this chapter to enable any lady to manufacture beautiful specimens of old 
point and houiton lace. 

The finer the braid used in the work the more value will the finished 
piece possess. And here comes in a nice point for discrimination, viz.: 
where to use the coarser braids? It will be readily seen that lace for per- 
sonal use needs to be of finer texture than that employed for purely decor- 
ative purposes, hence for handkerchiefs, fichus, collars, lace edgings, etc., 
the finer braids and most delicate and lacy stitches should be employed. 
For bed spreads, shams, dressing case sets, etc., the heavier and coarser 
braids will be found more effective as well as more appropriate. The finest 
threads should be used with the finer braids always, while for ornamental 
articles thread as coarse as No. 300 may be employed. 

The first stitch to be practiced in lace making is the Brussels point. 
This stitch is the foundation of nearly all the many lace stitches, and is 



3i6 DAINTY WORK FOR PLEASURE AND PROFIT. 




26-Raleigh Bars. 



27— Raleigrh Bars. 





PLATE 4. 




LACE STITCHES AND DESIGNS. 317 

worked as an edging or in rows backwards and forwards to fill spaces, or 
as a ground work. Brussels point consists of a simple buttonhole stitch 
worked loosely and evenly. Fig. 2, plate 2, shows method of working clear- 
ly. Fig. 3, plate 2, shows the stitch worked in rows; Fig. 4, plate 2, the Ven- 
ice point. This stitch is worked from left to right as is also the Brussels 
point. Work one loose buttonhole stitch, and in this again work four but- 
tonhole stitches tightly drawn up: next work another loose buttonhole 
stitch, and four more buttonhole stitches in it as described for the first 
stitch. This operation must be repeated to the end of the row and the 
thread fastened off. This will be found to make a most useful filling stitch. 

Figure 5, plate 2, illustrates Little Venice point, v/hich is adapted 
for filling small spaces. It is worked in the same manner as the Venice 
point, the only difference beia^ that one tight buttonhole stitch only is 
worked into each loose one. 

Spanish point is worked from left to right as follows: insert the needle 
in the edge of the braid, keeping the thread to the right, bring out the 
needle inside the loop, (see figure 6, plate 2.) The needle must 
pass from the back of the loop through it. Pass the needle under the 
stitch and bring it out in front, by this means twisting the thread twice. 
This operation gives the stitch the desired cord-like appearance. The 
thread must be fastened to the edge of the braid at the end of each row. 
Return to the opposite edge without breaking the thread by sewing back, 
inserting the needle once in every open stitch. 

Figure 7, plate 2, shows Close Spanish point which is worked in exactly 
the same manner as the regular Spanish point, but so close are the stitches 
worked that the needle can but just pass through in the next row. Fasten 
this stitch also at the end of each row and sew back to opposite row. Be- 
gin the work at the left and proceed to the right. 

Figure 8, plate 2, illustrates still another variety of the Spanish point 
stitches. It is called Treble Spanish point and is worked in the same man- 
ner as the two preceding stitches. The arrangement forming the distinc- 
tive features; begin at the left, work three close stitches, one open, three 
close to the end of the row; fasten off and run back to the left edge. In the 
second row begin with one open, follow with three close, then one open 
to the end of the row, fasten off and sew back. Repeat as many rows as 



3i8 DAINTY WORK FOR PLEASURE AND PROFIT. 

are necessary to fill the desired space being careful to alternate the begin- 
ning of each row as indicated above. Great care must be observed to see 
that the close and open stitches follow each other in regular order. Va- 
rious patterns may be formed with this stitch, as stars and diamonds. 

Grecian Point is illustrated in figure 9, plate 2. This stitch is worked 
from left to right, working backwards and forwards. To begin, make 
one loose Brussels point and follow with three close Spanish point stitches, 
then one Brussels point stitch and repeat, alternating the stitches to the 
end of the row. Work back in the same manner, only commence the sec- 
ond row with the three close Spanish points instead of the loose Brussel 
point. This is the first occasion, so far given, where two stitches are com- 
bined to form a pattern, but these combinations are largely used in all pat- 
terns, and lend variety to the work. We shall have more illustrations of 
combinations further on. 

Valenciennes stitch, figure 10, plate 2, is simple when understood though 
at first it may appear a little difficult. To work: ist row, commence at the 
left hand and make six Brussels point stitches at equal distances, every al- 
ternate stitch must be larger. Second row: upon the first large stitch work 
nine close buttonhole stitches, follow with one short Brussels point stitch 
under the one above; repeat nine close stitches and so on to the end of the 
row, (right to left.) Third row, work five close buttonhole stitches in the 
nine of the previous row, follow with one short Brussels point, two close 
buttonhole stitches in the Brussels point, one short Brussels point, five 
close buttonhole stitches, one short Brussels point, two close buttonhole 
stitches, one short Brussels point, five close, one short, two close, one short, 
repeat. Continue the rows in the order given until the desired space is 
filled. 

Point d'Alencon is a lace stitch used to fill up narrow spaces where 
lightness is necessary to a good effect. This stitch is worked over and un- 
der in alternate stitches, as in hemstitching. 

Figure 12, plate 3, shows the Turkish stitch. This is an easy stitch and 
equally effective for large or small spaces. The thread should be varied 
in size according to the size of the space to be filled, even in the same por- 
tions of a design. To work first row: work a loop bringing the thread from 
right to left, pass the needle through the twist, and through the loop, draw 



LACE STITCHES AND DESIGNS. 



319 



up tight and repeat. Second row: one straight thread from right to left. 
Third row: work in same manner as described forfirst row, using the straight 
thread in place of the braid, Pass the needle through the loop of previous 
row. 

Point de Reprise is a stitch much used and will be found illustrated 

and described in the chapter on " Applica- 
tions of stitches." 

Net Groundwork Stitch is effective for 
ground work where Brussels net is not imi- 
tated. To work: commence in the corner 
or crosswise of the space to be filled, work 
a loose Brussels point, fasten it to the braid, 
passing twice through the braid as shown in 
figure 2, plate 3. Work in rows backwards 
and forwards as follows: one Brussels point 
before making the next stitch, pass the need- 
le imder the knot, over the thread and again 
imderxi, see illustration. This stitch fills up 
space rapidly, figure 13, plate 3, thus shows 
the stitch applied as a filling or ground work 
over which is worked a few point de reprise 
stitches. 

Point de Tulle. This pretty stitch is used 
as a ground work for very fine work. It is 
made by working in rows backwards and 
forwards, using open Spanish point stitch. 
See figure 14, plate 3. When this part of the 
work is completed it is worked over a sec- 
ond time, as follows: insert the needle under 
one twisted bar, bring it out and insert again 
at * and bring out again at the dot. This 
makes a close double twist which when done 
with fine thread is very effective. 

Mechlin lace stitch, see figure 23, plate 3. 
This is one of the prettiest stitches used in lace work and is also one of the 




LACE COLLAR 



320 



DAINTY WORK FOR PLEASURE AND PROFIT 



most difficult. Work a number of diagonal bars in buttonhole stitch, on a 
single thread, in one direction. Then in the opposite side begin in the 
same manner and work five or six stitches past the spot where the two 
lines cross each other. Pass the thread around the cross twice, under and 
over the thread, to form a circle, work in buttonhole stitch half of one 
quarter, make a dot by putting a fine 
pin in the loop instead of drawing the 
thread tight, and in the loop held open 
by the pin, work three buttonhole 
stitches; take the pin out and continue 
as before. The dot is the jlifficult 
point in the work and it will be better 
for a beginner to omit this until the 
plain wheel can be worked smoothly 
and evenly. Mechlin wheels are effec- 
tive worked in rows upon horizontal 
and parallel lines of thread. 

WHEELS, ROSETTES, BARS, ETC. 

We come now to the introduction of 
combinations in our work, and will 
commence by introducing to the worker 
the Sorrento wheel. The method 
of working this stitch is clearly shown 
in figure 24, plate 4. The thread is put in 
the space to be filled at the points in- 
dicated by letters. Commence at a 
and fasten the thread, carry it to b, 
twist back upon the thread to the cen- 
ter of it and fasten at c\ carry to center 
again by winding around or twisting i^kc^ insertion. 

around itself, and so on until all the lines are in, as marked in figure 24. 
Figure 25 shows method of forming wheel, which is very simple; the thread 
is worked over and under the crossed threads, repeating the operation un- 
til awheel the desired size has been obtained; see plate 4 for figures 24 and 25. 




LACE STITCHP:S and designs. 321 

A very pretty wheel called spider web is shown in the chapter on 
"Application of Stitches." 

The various stitches used to connect the different parts of point lace 
work are called bars, and upon the suitability of the bar to the special place 
it is made to fill depends the beauty of the work. 

The Sorrento bar is one of the simplest used, and consists of a single 
thread carried from right to left and fastened in the edge of the braid; the 
return row is made by simply twisting back to the starting point on the 
thread just carried across. These bars are usually made in groups of three 
placed close together, with an equal distance between each group. Figures 
15 and 16, plate 3, show two applications of the Sorrento bar. 

Point d'Alencon bars are useful, but as they have been referred to be- 
fore, we will pass on to the Venetian bar, which, while so simple as to 
hardly need description yet has an important place in lace making. Fig- 
ure 17 shows this bar applied to a small space. It consists of two straight 
threads worked over in reverse directions with buttonhole stitch. Figure 
18 shows the bar applied tc the veining of a leaf which is worked upon sor- 
rento bars. See plate 3. 

Figure 19 shows Venetian bars worked to form squares, triangles, etc., 
in buttonhole stitch upon a straight thread. The arrow in the illustration 
points to the direction for working the next. 

Venetian bars edged. Figure 20, plate 3, illustrates this method of 
working. Begin at the right and carry a thread straight across to the oppo- 
site side; fasten off in the edge of the braid with a tight buttonhole stitch. 
Upon this thread work a succession of tight buttonhole stitches. In every 
third stitch work a Venice point stitch. 

We come now to the dotted lace bars, and a very important feature of 
bar is this dot. 

Dotted Venice Point: Stretch the thread across the space to be filled 
from right to left. Upon this thread work five tight Brussels point stitches. 
In the fifth stitch insert a pin to hold it, open and loose; pass the needle 
under the loose stitch and over the thread as shown in figure 21. In this 
loop work three tight Brussels point stitches; work five more tight Brussels 
points on the thread and make another dot; repeat to end of row. 



322 DAINTY WORK FOR PLEASURE AND PROFIT. 




MAPLE LEAF PLATE DOYLEY. 



LACE STITCHES AND DESIGNS. 323 

Raleigh Bars are worked over a foundation of net work, made of coarse 
thread, twisted in places so as to more easily fall into the desired form. 
Figure 25 shows a figured diagram for placing threads; and by following 
the numbering from i to 21 in the diagram, a square space may be easily 
filled. Portions of the arrangement can also be applied to any shaped 
space. Upon the groundwork make tight Brussels point stitches, and upon 
these the dot must be worked. To work the dot either of three methods 
may be followed. First method: work five tight Brussels points, one loose 
Brussels point; pass the needle under the loop and over the thread, as 
shown in the dotted Venice bars; draw up, leaving a small open loop as in 
tatting. Work five tight Brussel points and repeat. 

Second method of making dots: Proceed as described for first method, 
but instead of continuing the tight Brussels point work two or three tight 
buttonhole stitches in the loop thus formed. 

Third method of making dots or picots: work four tight Brussels 
points and one loose; through the loose stitch pass the needle point, wind 
the thread three times around the point, press the thumb tightly on this, 
and draw the needle and thread through the twists. This method very 
closely imitates the real Spanish lace. 

Figures 27 and 30 represent two very beautiful fancy filling stitches, 
which are so simple that they can readily be copied from the illustrations. 
Figure 27 is called Point d'Anvers, and figure 30 Greek point. 

Many of the lace filling stitches are sr.sceptible of other uses than 
making lace, for instance the most beautiful drawn work is that wherein 
occur many lace stitches, also in conventional embroidery they are espe- 
cially useful for filling large surfaces. 

The lace insertion on page 320 will require 3 yards of Honiton, 
and 39 yards of point lace braid. This material will make apiece one yard 
long. 

For the collar shown on page 319 there will be required braid as follows: 
Honiton, 2^ yards: point, 17^ yards; purling, 4)4 yards. 



324 DAINTY WORK FOR PLEASURE AND PROFIT. 




MAGNOLIA PLATE DOYLEY. 



CHAPTER XVI. 



KNITTING AND CROCHETING. 




O OTHER form of "Dainty Work" is so 
conducive to sociability and a general feeling 
of bonJiomme as a piece of knitting or cro- 
chet work. It occupies the fingers, yet leaves 
the mind free for "idle converse the while." 
Aside from every other consideration this 
form of fancy work offers a means for decor- 
ative efforts in different directions that 
would otherwise be beyond the ability of 
limited resources to compass. One has 
first to try what can be accomplished with 
a ball of linen or silk crochet thread and a 
crochet needle to have a proper respect for 
the day of "little things." Women, even of 
the most limited financial means, have leisure 
hours, or it may be minutes, which can be utilized in making trimmings for the 
garments of the wee mites who demand so much of a loving mother's thought 
and care, or articles of more absolute necessity, as petticoats, sacques, 
stockings, dresses, etc., can be fashioned from a few cents' worth of wool. In 
this day of cheap Hamburg embroideries it is a relief to see underwear 
decorated with fine linen thread lace, either knitted or crocheted, and 
the possession of a variety of such hand-trimmed garments betokens a 
refined taste in the possessor. Aside from articles of actual use, there are 
many others of mere ornament that add much to the home-like comfort of 
one's rooms, such as toilet sets, scrap bags, bracket covers, table covers, etc., 
that can be made by means of knitting or crocheting, and these can be man- 



326 DAINTY WORK FOR PLEASURE AND PROFIT. 

ufactured so cheaply, and in the odd minutes, that would not otherwise be 
employed, that the cost is not appreciated. 

In the chapter devoted to this subject, no attempt at originality has 
been made, but much time and labor have been expended in securing the 
prettiest and most useful, as well as most ornamental articles that could be 
found in two continents. The many friends of the writer in the United 
States — from Maine to California, and from British Columbia to the Gulf 
Coast — have been laid under requisition, and most generously have they 
yielded their treasures to her insatiable demands for "more," and she 
wishes here to thank the ladies who so kindly came to her assistance, send- 
ing samples for illustrating, and instructions for making so many of the 
articles here given. To friends in England, Scotland and France she is 
also indebted for like favors. 

The idea in preparing this chapter has been to give such instruction as 
could be most generally adapted to the greatest number of purposes. No 
effort at classification has been made; the different articles have been edited 
and grouped just as they were received, and form a very good index of what 
women are doing in this line all over the country. 

For the benefit of those among the readers who do not understand 
knitting and crochet work, we append here the abbreviations used in giving 
the instruction for making the different articles, together with their meaning. 

Some ladies have a deep-seated conviction that they cannot learn any- 
thing from printed instructions. This is nonsense. If the instructions are 
given clearly and concisely, there will be no difficulty in following them. 
Staring at the cold type with an I-never-can-do-it expression will not do it, 
certainly; the only way to reduce printed instructions to knowable quantities 
is to prove them. Take a crochet needle and a piece of coarse thread and 
proceed to follow the instructions as given below, beginning at the first one 
and proceeding to the last. Never give up trying until the correct result 
has been obtained. You will then be prepared to use the terms whenever 
you meet with them in the succeeding articles, illustrated in this chapter. 

Having disposed of the terms for crochet work, proceed to solve the 
difficulties of those given for knitting. Once actually at work, practically 
trying to follow instructions, you will be surprised' to see how easily diffi- 
culties that seemed insurmountable melt into nothingness. 



KNITTING AND CROCHETING. ' 327 

TERMS USED IN CROCHETING. 

Ch.— Chain: a straight series of loops, each drawn with the hook through the preced- 
ing one. 

Sl.^Slip stitch: put hook through the work, thread over the hook, draw it through the 
stitch on the hook. 

Sc— Single crochet: having a stitch on the hook, put the hook through the work, 
thread over the hook, draw it through the work, thread over, draw it through the two 
stitches on the hook. 

Dc— Double crochet: having a stitch on the hook, put thread over the hook, then put 
hook through the work, thread over and draw it through two stitches, thread over, draw it 
through the two remaining stitches. 

Tr.— Treble crochet: same as double crochet, except that the thread is thrown twice 
round the hook before inserting the hook through the work. The stitches are worked off 
two at a time, as in double. 

L. t. c.—Long treble crochet: twine the thread three times round the hook, work as in 
treble, bringing the thread through two loops four times. 

Picot: made by working three chains, and one single crochet in first stitch of the chain. 

CI. ch. St.— Close chain stitch: insert the hook in the loop of preceding row, and 
draw thread through it and the loop on the needle at the same time. 

Half dc— Half double crochet: like double crochet, only pass the cotton through the 
three loops on the needle, instead of passing it through two loops twice. 

EXPLANATION OF ABBREVIATIONS AND TERMS USED IN 

KNITTING. 

K. — Knit plain. 

N. — Narrow, knit two stitches together. 

P. — Purl or seam. 

PN. — Purl or seam two stitches together. 

S. and B.— Slip and bind, slip one stitch, knit the next, and pass the slipped stitch over. 

O. — Thread thrown over as if about to purl. 

S. — Slip the stitch off without knitting. 

Round.- -When the work is done with four needles in a tubular web, this expression 
describes one circuit of the web from the first stitch of the first needle to the last stitch of 
the third needle inclusive. 

Row.— This term is made use of only when the work is done on two needles in a tlat 
web. 

Repeat.— This word, following a description of round or row, means that the same 
work is to be done again, not only once, but throughout the round or row. In other places 
the word implies a repetition of all rows or rounds preceding- it in that rule. 

Cast off.— This is done by knitting two stitches, passing the first one over the second, 
and repeatmg as required. 

\ 



328 



DAINTY WORK FOR PLEASURE AND PROFIT, 




FIG. 280. 



CROCHETED DRESS FOR CHILD. 

The top and skirt are crocheted separately, yet each is made of stripes 
of crochet, afterwards joined together. For the skirt 15 such stripes sloped 
off in the width are required. Figure 282 shows the widest part of each 
• stripe at the lower edge of the skirt, and figure 280 
the upper narrowest part where begun. The cro' 
chet "s made in rows, backwards and forwards, the 
firm center on the right side being made directly 
with the scollop points, while the left side can only 
be crocheted in one with the inner chain scallops 
(see figure 280); the other scallops follow later on, as 
shown in figure 282, on page 329, but also here each 
picot scallop is finished separately. Only a few 
directions for the stitches will be required, as the 
designs very clearly show the way the work is 
made. 9 ch. are always to be worked for the rings, 
into each of which is crocheted i sc, i half high 
dc, 10 dc, I half high dc. and i sc. Then follow 10 long stitches each 
separated by i ch. Each scallop on figure 282 is crocheted over, later on, with 
sc. and picots requires 8 ch. The smallest part 
of the scallop consists of 3 rows of scallops (3 
rows of scallops); then follow scallops of 4 rows 
and bstly i scallop of 5 hole rows. The 
stripes are joined by catching together the 
picots in the hollows of the scallops; this is 
done by adding a ring crocheted separately, as 
seen in figure 281, at the upper edge of the top. 
The ring consists of 18 ch., round which are 
worked 24 sc, interrupted after 3 sc. by a picot fig. 281. 

of 4 ch. The upper edge of the skirt is secured by i row of ch. and dc, 
this drawing the width into about 25^ inches, and i open dc. row ( i 
dc, I ch. ) For the back on the left side a stripe 6 scallops long is required, 
and each scallop here, as everywhere else, on the top worked of 3 hole rows. 
These six scallops give a length of about g% inches. On the second stripe 
I scallop more is worked for half the shoulder strap (the stripes are joined 




KNITTING AND CROCHETING. 



329 



as on the skirt), to this follows a stnpe of only 5 scallops to form the arm- 
hole, on which the scallops are narrower above, so that the top becomes 
somewhat tighter. A stripe of 8 points is now made to complete the shoul- 
der; the two shoulder stripes are then sewn together. The middle of the 




FIG. 282. 

top, Which is now finished in an opposite direction, is reached after a stripe 
again of 6 scallops. The two middle stripes are only to be joined to the 
snoulder straps at the tops of the points; the rings are left out here, as 
ribbon is afterwards drawn through the openings. An extra stripe is made 



330 



DAINTY WORK FOR PLEASURE AND PROFIT. 




on the right back for the button fastening, but this is finished at the back 
edge of the top only with the inner row of scallops, as seen in figure 280. 

The above mentioned stripe is put below 
a little over the first one on the left back, 
before sewing the top and skirt together. 
The sleeves require each 7 to 9 pointed 
scallops, the picot edges of these being 
made on one side only. The upper edge 
of the top is finished with small picot 
rings and scallops like those seen in figure 
281. For the tabs holding the sash at the 
sides, a stripe 4 or 4:^4 inches long is to 
be crocheted with only one scallop on 
each side, as seen in figure 280. Figure 
284 shows the dress completed. 
PURSE. 
Materials: Yz ounce knitting silk and 
a fine steel hook. Make 36 ch., and i row 
FIG. 283-4 of dc. 2d row; i ch., 2 dc. in back edge 

of the first and last dc. of the foundation, a dc. in each stitch between. 

3d row, I ch. and a dc, to end of row; 4th row to 32d rows, like second 
and third alternately; 33d row, like third; 34th row, dc. across row, missing 
the first and last stitches; 35th to 65th rows, like thirty-third and thirty- 
fourth rows. This completes the center part. P^or each of the side pieces 
make 28 ch. 

1st row, dc.turn the work, i ch., dc. in back edge of foundation stitches; 
4 dc. in last stitch of foundation, 27 dc. 
3rd row, turn the work, i ch., then dc. 
to end of row, widening in the center of 
the work as required. 

4th to 12th rows, like the preceding, 
join the pieces together on the wrong 
side with dc. 

Thesepursescan be made of any color, fig. 285. 

garnet and brown being the most popular. They are also extremely pretty 
when covered with glittering steel beads, one being placed on every stitch. 




KNITTING AND CROCHETING. 



3^1 



A novel idea is to carry one of these little purses worked in silk exactly 
matching the dress, and as so many delicate shades are produced in silk; 
this can very easily be done. A monogram in initial letters worked on one 
side in beads, is also a very pretty device, adding much to the beauty ot 
the purse. 



BABY'S SACQUE. 

Materials: 4 ounces knitting silk, and three yards satin ribbon No. 4. 
The yoke of the sacque is in reversible spider stitch. 

1st row, take 5 
ch., to turn, make| 
loops on the first 5 
ch., draw the silk 
through 6 loops, then 
through 2 *. Take up 
3 loops on side of] 
spider and 2 loops 
through ch., draw the 
si^k <"hrough 6 loops, 
then through 2. * Re- 
peat. 

To Wide 71. — Take 
up five loops with the 
one on needle, then 
repeat, makmg two 
spiders over one, be- 
ing careful to finish fig. 2S6. 
the two spiders at. the end of the one spider of last row. 

2d row, 15 plain, widen twice, i plain between; 3d row, 15 plain, widen 
twice, 2 plain between; 4th row, 15 plain, widen twice, 3 plain between. 

5th row, 15 plain, widen twice, 4 plain between; 6th row, 15 plain. 
widen twice, 5 plain between; 7th row, 15 plain, widen twice, 6 plain between. 

Work the front and back separately, leave sixteen spiders for fron*-. 
seven spiders for arm-holes, the rest for back. Make six rows on each. 
All the yoke is worked back and forth, making a reversible spider stitch. 




332 DAINTY WORK FOR PLEASURE AND PROFIT. 

Skirt of Sacqjie. — This is worked crazy stitch; on the first row join the 
back and fronts together at the side, ist row, repeat first of baby's hood, 
on page 338, making a crazy stitch pattern over every spider, which pro- 
duces the fullness required for the skirt. Make 38 rows as above. 

Sleeve. — Make 17 crazy-stitch patterns round arm-hole; being at the 
joining of back and front, turn the work at the end of each row and work 
backward, which will produce the raised appearance of the stitch. Narrow 
ihe ninth row in the center of the side of sleeve by taking the top of two 
shells together and working as if they were one. Make twenty-four rows 
alike, except the last one, where you put 2 tr. instead of 3 for spider, 25th 
row. — * 2 dc. into every spider. * Repeat for 4 rows. Make 5 shells round 
sleeve. 

For Shells. — * i dc, miss 2 into 3, 10 tr. into same, miss 2, i dc; * repeat. 

Last Row. — Turn over needle twice. Repeat last row of Baby's Hood, 
on page 338. 

For Shells aroimd Cape. — Repeat instructions for shells, also same for 
collar. Make i row of spiders between yoke and skirt for an edge. Make 
two rows of holes with i ch. between. 

For Neck. — Make shells for collar between these rows. Place a tied 
bow of ribbon on each shoulder, a bow with long loops where yoke and 
skirt join in front, and a small bow on sleeves. 

BABY'S SHIRT. 

Materials: 2 ounces "pure thread" knitting silk, and steel needle, Nos. 
17 or 18. Cast on 164 stitches. 

2nd row, p.; 3rd row, knit plain; 4th row; si. i, n., k. 2, * thread 
over, k. i, thread over, k. 2, n. 2, k. 2; repeat from * across the needle. 

5th row, p.; 6th row, like the 4th; 7th row, p.; 8th row, like the 
4th; 9th row, knit plain; loth row, p.; nth row, k. 

This makes one row of shells. Repeat until you have four rows, then 
p. 2 and k. 2, 30 times across. Now divide the stitches, putting 82 on 
a third needle (as you must knit up the two halves separately), and k. 2, 
p. 2, 26 times across. Then narrow on each end of needle for shoulders, 
knitting once plain between each narrowing. Knit the shoulder any length 
you desire. Knit up the other side like this; then taking the stitches on 



KNITTING AND CROCHETING. 333 

one needle, begin on the wrong side, knit across, then purl across, then knit 
across, k. 2, thread over, narrow; * k. 2, thread over, narrow; repeat 
from * to the end of needle; knit back, purl across, and cast off. 

The row of holes around the neck are to put a ribbon in to draw it up. 

Sleeves.— Cast on 64 stitches. For short sleeves k. 3 rows of shells 
like the body. For long sleeves k. 2, p. 2, 26 times across; then put in 
fine needles and k. 2, p. 2, about 10 times across. Cast off. 

LADY'S VEST. 

Materials: 6}i ounces "pure thread" knitting silk, 2}4 yards of 
pink satin ribbon about one inch in width, and 2}4 of very narrow pink 
satin ribbon to run in the neck. Two steel needles, No. 17, twelve inches 
in length, one fine steel crochet hook and one small skein of pink filo floss, 
for sewing the seams. The knitting silk is too hard a twist to sew with, 
and if used will make an uncomfortable seam to come next the skin. 

The directions for making this vest are very simple. It is made in two 
pieces, front and back, which are knit perfectly straight up and down upon 
two needles, until the neck is reached, where shaping begins, as directions 
will show. When the front and back are completed they are joined by a 
seam under each arm. The narrow strips which pass over the shoulder and 
form the sleeve are joined by crocheting. The hip or lower part of vest is 
widened by gussets, which are knit separately, one being placed in each 
side seam. The neck, sleeves and hem of vest are finished with crochet 
edges. 

Fontm/a. — Cast on with two needles, loosely, 200 stitches. This is the 
lower edge of vest. In second row across arrange in ribs of threes and 
twos. Every sixth row is purled all the way across. Continue with this 
pattern until you have a straight piece twenty-four inches long; here arrange 
the work so that in beginning to knit the wrong side of the fabric will be 
next you. Now knit off in the usual way for 50 stitches, using an extra knit- 
ting needle. Leave the remaining 150 stitches on another needle; secure 
them by placing a small cork on each end of the needle. For the present 
this needle of 150 stitches is left, and you continue the pattern with the 50 
stitches, thus shaping the neck and the short sleeves of the vest. Each 
time the edge is reached ( the one which comes next the neck, not the 
outer sleeve edge), narrow once by knitting 2 stitches together. Repeat 



334 



DAINTY WORK FOR PLEASURE AND PROFIT. 



till you have the stitches reduced to 20. Upon these knit the pattern for 
six inches, then cast off. 

This makes a long slip, which is to form the sleeve or shoulder band 
Next cast off loosely 100 stitches from the extra needle of 150. Upon the 
remaining 50 stitches knit a strip to correspond to the strip already 
described. Narrow only on the side next the neck. 

One half of the vest is now completed. For the other half of the vest, 
knit exactly as for the half already described. The lower part of the neck 
between the shoulder-bands is filled with a pattern crocheted as follows, 
beginning in the lower right-hand corner: Raise itr.; make 5 ch., i tr., 
repeat to left-hand corner. In making the tr., arrange so as to bring i tr. 
each side of every rib of 3 stitches. Break the silk at the end of every 
row already described. 

Now with a fine crochet hook fill in the space between the two long 
.strips with a square open-work pattern, described below and shown in 
the accompanying illustration. Do likewise with the other half of the vest. 

To make the open-work with which 
this space is filled, upon the row already 
made, work another row same as first, 
except that each tr. is worked midway of 
each ch. of 5 of preceding row. So alter- 
nate for 9 rows; but in beginning and 
ending each row you increase a ch. of 5 
and I tr. This will be readily seen in 
working. If you do not increase, the 
space will not be entirely filled. Now 
join the strip over the shoulder in this 
way: Make a ch. of the required length 
to reach over the shoulder from front strip 
to back strip and secure. Then upon this 
work a ch. of 5 and i tr. clear across. Now 
pjg 287 ^o ^^^^ ^^^ another row same as first 

except bringing each tr. midway of ch. of 5 of previous row. So alternate 
for 5 rows and you will have a pattern the same as the space is filled in 
with for the front and back described; also will have formed the sleeve or 




KNITTING AND CROCHETING. 335 

band. The other strips are joined just the same. Now work around the 
edge next the neck i row of tr., setting them close together. To this row 
add another, which work as follows, viz.: Make i tr. into each of 2 stitches 
or tr. of preceding row; 5 ch.; pass over 5 tr.; repeat. 

To this row add another by working thus: i tr. into each of the 2 tr. of 
last row; i ch.; 4 tr.; each separated by i ch. into the third of 5 ch.; i ch.; 
repeat. 

Next add another row. i tr. into each of the 2 tr. of last row; i ch.; 
4 tr.; each separated by 1 ch. into the center; i ch. between the tr. of last 
rows; I ch.; repeat. Repeat this last row once more. 

Now to this add a row of scallops, making about 15 tr. into i stitch for 
each scallop. Fasten down by i sc. to tr. of previous row. So work all 
around the neck. Add a similar row of scallops to outer edge of strip-band 
or sleeve. This completes the working of the band or sleeves. Run rib- 
bons through holes and tie in pretty bows in front. Next sew up the seams 
under the arms, leaving a space on the lower part of each seam for inser- 
tion of gusset, say about five inches. 

Gussets. — Cast on loosely 50 stitches on 2 needles; knit in ribs of threes 
and twos as you have for the other part of vest. Make this pattern for 
about one inch. Then narrow once at the beginning of every row; that is 
each time you turn the work. This narrows the work off to a point, or one 
stitch. When the gusset is finished, make one more for the other side. 
Sew into seam at lower or hip part of vest. These gussets are only neces- 
sary for persons of large size. Now add to the edge of vest open-work 
and scallops, as made above. This completes the work. 

These garments are often knitted in cream white, pale pink or pale 
blue silk, and will be found to be durable and elastic, fitting very neatly to 
the figure. 

LADY'S BASKET PATTERN VEST. 

Use the same materials as given above. Begin by casting on in 
stitches for bottom of front of vest, and work for the border: always slip 
the first stitch of every row: ist row, plain; 2d row, p.; 3d row, plain; 
4th row, si. I. * make one, k. 3, si. i, k. i, pass the slipped stitch over; k. 2 
together, k. 3, make i, k. i; repeat from * to the end. 



336 DAINTY WORK FOR PLEASURE AND PROFIT 

5th row, p; 6th row, .same as 4th row; 7th row, plain; 8th row. p.; 

gth row, plain; repeat trom the 4th to the 9th row. 

i6th row, k. 2 together, k. i, k. 2 together, * k. 2 together, k. 9, and 
repeat from * till within 7 stitches of the end of the row, when k. together, 
k. 2, k. 2 together, k. i. Now the border is finished, and there are 98 
stitches on the needle. 

Work for the Basket Pattern as follows: ist row, k, 5., p. 3, * k. 7, p. 3, 
and repeat from * to the end; 2nd row, k. 3, p. 7, and repeat, and end with 
p. 5 only. 

3d row, same as the first row; 4th row, plain; 5th row, p. 3, k. 7, and 
repeat, and end with p, 5 only. 

6th row, p. 5, k. 3, * p. 7, k. 3, and repeat from * to the end. 7th row, 
same as the 5th row. 

8th row, plain. Repeat these 8 rows till you can count 18 blocks of 
the basket pattern, 144 rows; or 21 blocks of the basket pattern, 168 rows; 
according to the length required. 

Then for the Shoulders: ist row, k. 5, p. 3, k. 7. p. 3, k. 7, p. 3, k. i, cast 
the last stitch but one over the last stitch, and continue casting off till 26 
stitches remain on the left-hand needle, then k, 3, p. 3, k. 7, p. 3, k. 7, p. 3 

2nd row, k, 3, p. 7, k. 3, p. 7, k. 3, p. 2, p. 2 together. 

3d row, k. 3, p. 3, k. 7, p. 3, k. 7, p. 3; 4th row, k. 24, k. 2 together. 

5th row, k. 7, p. 3, k. 7, p. 3, k. 5; 6th row, p. 5, k. 3, p. 7, k. 3, p. 5, p. 2 
together. 

7th row, k. 6, p. 3, k. 7. p. 3, k. 5; 8th row, k. 22, k. 2 together. 

9th row, p. 3, k, 7, p. 3, k. 7, p. 3; loth row, k. 3, p. 7 k. 3, p. 7, k. I, k. 
2 together. 

nth row, p. 2, k. 7, p. 3, k. 7, p. 3; 12th row, k. 20, k. 2 together. 

13th row, k. 3. p. 3, k. 7, p. 3, k. 5; 14th row, p. 5, k. 3, p. 7, k. 3, p. i, p. 
2 together. 

15th row, k. 2, p. 3, k. 7. p. 3, k. 5; i6th row, k. 20; 17th row, k. 7, p. 3, 
k. 7, p. 3; i8th row, k. 3, p. 7, k. 3, p. 7; 19th row, k. 7, p. 3, k. 7, p. 3; 20th 
row, plain; cast off. 

Now work upon the other shoulder, beginning inside the neck ( the 
first row being already knitted ). 

2nd row, k. 2 together, p. 7, k. 3, p. 7, k. 3. p. 5; 3d row, k, ^, p. 3, Is. 7, 
P- 3. ^- 7. P- I- 



KNITTING AND CROCHETING. 337 

4th row, k. 2 together, k. 24; 5th row, p. 3, k. 7, p. 3, k. ;, p. 3, k. 2. 

6th row, p. 2 together, k. 3, p. 7, k. 3, p. 7, k. 3; 7th row, p. 3, k. 7, p. 3, 
k. 7, p. 4- 

8th row, k. 2 together, k. 22; 9th row, k. 5, p. 3, k. 7, p. 3, k. 5. 

loth row, k. 2 together, p. 3, k. 3, p. 7, k. 3, p. 5; nth row, k. 5, p. 3, k. 
7. P- 3. k. 4. 

i2th row, k 2 together, k. 20; 13th row, p. 3, k, 7, p. 3, k 8. 

14th row, p. 2 together, p. 6, k. 3. p. 7, k. 3; 15th row, p. 3 k. 7, p. 3, k. 
7; i6th row, k. 20; 17th row, k. 5, p. 3. k. 7, p. 3, k. 2. 

i8th row, p. 2, k. 3, p. 7, k. 3, p. 5; 19th row, k. 5, p. 3, k. 7, p. 3, k. 2; 
20th row, plain. Cast off. 

Knit another similar piece for the back of the vest. Sew the shoulder 
pieces together, and sew up the sides of the vest, from the bottom, leaving 
space for the armholes. 

For tJie Sleeves. — Cast on 69 stitches, and work 15 rows of the border, 
the same as at the bottom of the vest, but doing i additional plain stitch 
at the beginning and at the end of each row. 

i6Lh row, plain knitting, and take 2 stitches together once in the course 
of the row, to bring 68 stitches on the needle. Now knit 8 rows of the 
basket pattern, and cast off loosely. Make a little gusset, by casting on 16 
stitches, and knitting 26 plam rows, and cast off. Knit another ?leeve and 
another gusset in the same manner. Sew up the sleeves, takmg care that 
the gussets are placed properly. Crochet a dainty edge around the neck, 
having first a row of holes to run in ribbon. 

BABY'S HOOD. 

Materials: i y^ ounces knitting silk and a steel crochet hook of mod- 
erate size. Make 25 ch. 

isi row, * I dc. into ist ch., 2 ch.; 3 tr. into same ch., miss 2, 2 ch., i dc. 
into 3d,; * repeat. 

2nd row, * 3 ch., 3 tr. into first dc. of last row, i dc. into 2 ch. of last 
row. * Repeat, making 25 rows which form crown of cap. Break off and 
fasten on at the ch. stitches, which must form back of cap, and make a 
mesh as follows: 

To begin, make 5 ch., take up one loop as for a tr., putting the needie 
in third. ch,, then, still holding the loop on needle, take another loop, put- 



338 



DAINTY WORK FOR PLEASURE AND PROEEF. 




FIG. 288. 



ting the needle in first stitch, draw the thread through 2 loops at once until 
only one is left on the needle. 2nd mesh, make i tr. into every 3 ch., 2 ch. 
between each mesh, making it wide enough to take satin ribbon No. 4; work 

mesh around the crown. 

Top of Head. — Repeat second row 
working every mesh until twelve rows are 
done. Repeat row for mesh. 

Repeat 2nd row three times. Make 
I row of dc. round neck of cap. 

Cape. — Repeat 3d row of Baby's 
Sacque, on page 331, making 7 rows. 

8th row, repeat 2nd row of Baby's 

Sacque, on page 331, taking up three loops 

on each side instead of two. 9th row, 

repeat 7th row. Round the front of cap 

make shells to meet those already made, 

making a double front. 

Edge. — * Make 10 tr. for shell, turning over the needle twice into third 

ch., I dc. into next third ch. * Repeat round the cap and round cape, miss 

two cross-stitches into third. 

Last Row .-J) ch. and a dc. into every tr., missing the dc. between the shells. 
Under Cap. — 25 ch., 25 tr., for five rows, then making tr. round the 
crown all but the neck for head. Make 7 rows. Sew in with silk. The 
woolen lining makes the cap warmer, but if preferred, a wadded silk lining 
can be used, made separate from the cap, instead of the woolen under-cap. 
Split zephyr or Shetland is used double. 

FANCY BAG. 

Materials, i ^ ounces knitting silk, i yard silk, satin or plush, and 4 J^ 
yards of ribbon i^ inches wide. To make the large rosettes, make 13 ch; join. 

1st round, 3 ch., i tr. in first stitch, 4 ch., 2 tr. till there are seven points 
to the star; join. 

2nd round, 2 ch. and a row of str. around the star by making 4 str. in 
each loop, and 2 str. on the upper edge of the points of the star; join. 

3d round, 3 ch., ! tr. in first stitch, 2 tr., 3 ch. and 2 tr. in every fourth 
stitch to end of round; join. 



KNITTING AND CROCHETING. 



339 



4th round, 2 ch., 4 str. in each loop and 4 str. on the upper edge ot the 
tr. to end of row; join. 

5th round, 3 ch., 2 tr. in first stitch, 4 ch., 2 tr. in the third and fourth 
stitches to the end of the round; join. 

6th round, 2 ch., 4 str. in loop, and 2 str. in upper edge of tr. to end of 
round; join. 7th round, 3 ch., i tr. in first stitch, 6 ch., 2 tr. in fifth and 
sixth stitches to end of round; join. 

8th round, i str. between the tr. in the foundation, S tr. in each loop to 
end of round. 

To make the small rosettes, make 13 ch.; join. 1st round, 2 ch., i tr; 
in every first stitch, 4 ch. and 2 tr. till there are seven points in the star; join. 

2nd round, 3 ch., i str. in every first stitch, 4 str. in loop, 2 str, on the 
upper edge of tr. to end of round; join. 

3d round, 6 ch. in every third stitch to end of round. 

These rosettes are arranged upon the bag as 
illustrated, and after making a row of ch. stitches, 
and a row of tr. with 2 ch. between them, on the 
lower edge of the second row of rosettes, a less 
number of rosettes is placed below on the gathered 
end of the bag, as shown in the cut. The rosettes 
should not be crocheted too loosely. The width of 
the satin or plush forms the length of the bag, and 
the hem above the gathers on the upper end may be 
lined with satin of a contrasting color, matching the 
rosettes. Fawn color or light brown on blue, or 
cardinal and old gold on brown velvet, are very 
elegant combinations. 

FRINGE. 

This fringe is designed for the ends of pillow 
scarfs, dressing-case scarfs and towels, made from 
silk-finish embroidery linen, which come in widths 
from 18 to 80 inches. The fringe can be made from 
cotton thread, but is much handsomer made from fig. 289. 

the Bousfield Scotch linen thread, while some ladies are so extravagant as 
to use knittingf silk. 




340 



DAINTY WORK FOR PLEASURE AND PROFIT. 



Make a chain of 35 stitches. 

1st row, 3 dc. in fourth stitch, 3 ch., 3 dc. in same stitch; fasten to next 
third stitch of chain, 6 ch., miss 6 ch., 3 dc. in seventh, 3 ch., 3 dc. in same; 
fasten to next third chain, 6 ch., miss 6, put 3 dc. in seventh, 3 ch., 3 dc. in 
same; fasten to next third stitch; 6 ch., miss 6 ch., 3 dc. in seventh stitch 
of chain, 3 ch., 3dc, in next chain stitch, 5 ch. stitches and turn. 

2nd row. 3 dc. around next chain of three, worked between the last 3 
dc. in preceding row, 3 ch., 3 dc. around same; fasten around first stitch of 
next chain of six, 6 ch., 3 dc. around next chain of three, 3 ch., 3 dc. around 
same chain, fasten, 6 ch., 3 dc. around next chain of three, 3 ch., 3 dc. 
around same chain, fasten, 6 ch., 3 dc. around next chain of three, 3 ch., 3 
dc. around same, work 6 ch.; turn. 

3d row, 3 dc. around next chain of three 
of second row, 3 ch. 3 dc, around same chain, 
fasten, 6 ch., 3 dc. around next chain of 
three, 3 ch., 3 dc. around same chain, fasten, 
6 ch., 3 dc. around next chain of three, 3 ch., 
3 dc. around same, fasten, 6 ch., 3 dc. around 
next chain of three, 3 ch., 3 dc. around same, 
fasten in first stitch of chain of five of last 
row. 

4th row, 5 ch., 3 dc. around next chain of 
three of third row, 3 ch., 3 dc. around same, 
fasten, 6 ch., 3 dc. around next chain of three, 
3 ch., 3 dc. around same, fasten, 6 ch., 3 dc. 
around next chain of three, 3 ch., 3 dc. 
around same, fasten, 6 ch., 3 dc. around next 
chain of three, 3 ch., 3 dc. around same; work around next chain of six, * 
2 dc, 3 ch. *. Repeat five times, stopping before 3 ch. Fasten by i sc in 
last third dc. of first row. 

5th row, turn, * I sc, 3 dc, i sc. around chain of three, *. Repeat four 
times; 3 ch., 3 dc, around next chain of three of last row, * 3 ch., 3 dc. 
around same, fasten, 6 ch., 3 dc. around next chain of three, repeat to the 
end of the row. 

Finally, make 5 ch. instead of 3. 




FIG. 290. 



KNITTING AND CROCHETING. 341 

Begin again from 2d row. 

For the heading, fasten the silk to the end of the work, then crochet 
I sc. in every stitch of the edge. 

The second row of heading is worked as follows: 

Turn, * 3 dc. in next sc. of last row, miss next sc, fasten in following 
sc, miss I, * repeat to the end of the row. 

PINE APPLE EDGE. 

Make a ch. of 24 stitches; turn. 

1st row, I dc. into the sixteenth, i sc. into each of 2 next stitches; turn. 

2nd row, 9 tr. under loop of ch., 2 ch. 9 tr. under same loop of ch.; turn. 

3d row, 3 ch. I tr. into each of 9 tr, 3 tr. under 2 ch. 2 ch., 3 tr. under 
same 2 ch., i tr. into each of 9 tr., pass over 2 ch., 1 sc. into each of 3 next 
stitches; turn. 




FIG. 2gi. 

4th row, 2 ch. I tr. into first stitch, 2 ch., i tr. into next stitch *, 2 ch., 
pass over i stitch i tr. into the next, repeat from * 4 times more, 3 tr. each 
separated by 2 ch. under 2 ch., 2 ch. i tr. into the next tr. *, 2 ch., pass 
over I stitch i tr. into the next, repeat from * 5 times more, 2 ch. i tr. into 
end stitch; turn. 

5th row, 3 ch., 2 tr. under each 2 ch., repeat all round, work 3 instead of 
2 tr. under the 2 ch. on each side the center tr., i sc. into each of the 3 
next ch.; turn. 

6th row, 4 ch., pass over i stitch, i sc. into eacii of the 2 next stitches; 
repeat all round. 

For the heading: 

1st row, I tr. into the end of first row of scallops *, 2 ch. i tr. into end 
ot next row, repeat from * to the end of the row. 

2nd row, i tr. into tr. of last row, 2 ch., repeat to the end of the row. 




342 DAINTY WORK FOR PLEASURE AND PROFIT. 

INSERTION CROCHET. 

Make a ch. of 13 stitches, turn back and work i dc. into the seventh, 
3 ch., pass over 2 stitches, i dc. into the next, 4 ch., one dc. into end 
stitch; turn. 

2nd row, 3 
ch., II tr. under 
loop of 4 ch., 
turn; 3d row, 3 
ch., I tr. into 
third of II tr., I 

FIG. 2Q2. , , U • * 

^ tr. I ch. into 

each of 8 tr. of last row; turn. 

4th row, 4 ch. I dc. between 2 tr. (see figure 292), 3 ch., i dc. between 
2 next tr., repeat from * 5 times more, 4 ch. i dc. into end stitch, repeat 
from second row for the length required. 

When commencing the last row of next and following patterns, join to 
preceding pattern by working 3 ch. i sc. into second loop of 3 ch. (see 
figure 292), 3 ch., i sc. into first of previous 3 ch. 

BORDER CROCHET. 

Commence with i of the oblongs. Make a ch. of 16 stitches, work 14 
rows backwards and forwards with I dc. into the back horizontal loop of 
each stitch; for the oblong forming the point, work 17 dc. at one side of the 
first oblong (see figure 293), work 13 rows; for the third oblong, work 16 
dc. into the side of the last worked oblong, 3 ch., work backwards and 
forwards on the ch, and the dc. for 14 rows; do not break off the cotton, 
but commence the next pattern with 16 ch. as you did the first. 

For the heading: 

1st row, I dc. into a point (see figure 293), 21 ch., i dc. into fifteenth 
3 ch., I dc. into the sixth, 2 ch., i dc. into side of oblong (see figure 293), 
8 ch., I dc. into the third, one sc. into each of 3 ch. before second picot, 9 
ch., I dc. into the third, 2 ch., i sc. into side of next oblong (see figure 293), 
8 ch., I dc. into the third, i sc. into each of 3 next ch., 6 ch., i dc. into the 
first, I sc. into each of 3 next stitches, 11 ch. repeat from the beginning of 
the row. 



KNITTING AND CROCHETING. 



343 



2nd row, i tr. into a stitch, i ch., pass over i stitch and repeat. 

3rd row, I tr. into each stitch; 4th row, i tr. into a stitch, i ch., pass 
over I stitch and repeat. 

For the edge: 

1st row, * I double 
tr. into the fifth stitch 
at side of oblong, 2 ch., 
pass over 2 stitches, re- 
peat from * 15 times 
more, at the point work 
7 instead of 2 ch., and 
do not pass over a stitch 
(see figure 293). 

2nd row, i dc. into 
each of 9 stitches, 4ch., 
I sc. into the first, i dc. 
into each of 3 stitches, 
9 ch., work back with 
I sc. into the third 
stitch before the picot, 
under the loop of 9 ch. 
work 2 dc.,*4 ch., i sc. 
into the first, 3 dc. un- 
der 9 ch., repeat from * pjq ^„^ 
4 times more, i dc. into each of 7 next stitches of last row; work 4 more of 
these scallops on the vandyke. 

TRIMIVIING CROCHET. 

Make a chain the length required. 

1st row, I dc. into each of 19 stitches, 9 ch., pass over 8 stitches, and 
repeat from the beginning of the row. 2nd row, i dc. into the second and 
16 following dc. of last row, 3 ch. 2 tr. separated by 4 ch., into center of 9 
ch. 3 ch., repeat from the beginning of the row. 

3rd row, I dc. into the second and 14 following dc. of last row, 2 ch. 6 
tr. each separated by i ch. over the 2 tr. and 4 cli. of last row (see figure 
294), 3 ch.; repeat from the beginning cf ihc row. 




344 DAINTY WORK FOR PLEASURE AND PROFIT. 

4th row, I dc. into second, and i. into each of the 12 following stitches 
of last row, 2 ch., 9 tr. each separated by one ch. over the tr. of last row, 2 
ch.; repeat from the beginning of the row. 

5th row, I dc. into the second and i into each of the 10 following dc. 
of last row, 2 ch. 10 tr. each separated by i ch. over the tr. of last row, 2 
ch.; repeat. 

6th row, I dc. into the second and i into each of the 8 following dc. of 
last row, 2 ch., 13 tr. each separated by i ch. over the tr. of last row (see 
figure 294), 2 ch.; repeat from the beginning of the row. 

7th row, I dc. into the second and i into each of the 6 following dc. of 
last row, 2 ch. 14 tr., each separated by i ch. over the tr. of last row (see 
figure 294), 2 ch.; repeat from the beginning of the row. 




FIG. 294. 

8th row, one dc, into the second and i into each of the 4 following dc. 
of last row, 2 ch., 17 tr. each separated by i ch. over the tr. of last row, 2 ch; 
repeat from the beginning of the row. 

9th row, I dc. into the second and i into each of the 2 following dc. of 
last row, 2 ch. 18 tr. each separated by i ch. over the tr. of last row, 2 ch.; 
repeat. 

lOth row, I dc into each of the 3 dc. of last row, keep the top loops on 
the hook, draw through all together, 3 ch. 20 tr. each separated by i ch. over 
the tr. of last row, 2 ch.; repeat. 

nth row, i dc. between 2 dc, 4 ch. 20 tr. each separated by i ch. over 
the tr. of last row, 4 ch.; repeat. 

I2th row, I dc. into first ch. between 2 first tr., 3 ch. i dc. between the 
third and fourth tr. *, 4 ch,, i dc. into the second, i ch. i dc. into the ch. 
between 2 next tr., repeat from * 14 times more, 3 ch. i dc. between 2 next 
tr.; repeat from the beginning of the row. 



KNITTING AND CROCHETING 345 

KNITTED SQUARE FOR COUNTERPANE. 

D. M. C. knitting cotton No. 10, and pins No. 13 are a nice size to use 
for a counterpane. The squares are sewn together when all are worked, 
and the counterpane is finished with a knitted border, or with fringe. 

Commence with the raised patterns, cast on 3 stitches. 




FIG. 295. 

1st row, k.; 2nd row, si. i, make i by knitting the horizontal thread 
lying under next loop (all the increases at the beginning and end of each 
alternate row are made in this way), knit the next stitch, make i, k. i. 

3d row, si. I, k. to end of row, the first stitch is slipped in every row. 

4th row, si. I, make i, k. i, cotton over the pin, k. 1. cotton over the pin, 
this commences the first raised pattern, k. 1, make i, k. i. 

5th row, si. I, k. 2, p. 3, k. 3; 6th row, si. i, make i, k. 2, cotton over 
the pin. k. 3. cotton over the pin, k. 2, make i, k. i. 



346 DAINTY WORK FOR PLEASURE AND PROFIT. 

/th row, si. I, k. 3, p. 5, k. 4; 8th row, si. i, make i, k. 3, cotton over the 
pin, k. 5, cotton over the pin, k. 3, make i, k. i. 

9th row, si. I, k. 4, p. /, k. 5; loth row, si. I, make i, k. 15, make i, k. i. 

nth row, si. i, k. 5, p. 7, k. 6; 12th row, si. i, make i, k. 5, k. 2 together 
at the back, k. 3, k. 2 together, k. 5, make i, k. i. 

13th row, si. I, k. 6, p. 5, k. 7; 14th row, si. i, make i, k. 6, k. 2 together 
at the back, k. i, k. 2 together, k. 6, make i, k. i. 

15th row, si. I, k. 7, p. 3, k. 8; i6th row, si. i, make i, k. 7, k. 3 together, 
k. 7, make i, k. i; 17th row, si. i, k. to end of row. 

i8th row, si. I, make i. k. 3, cotton over the pin, k. i, cotton over 
the pin, k. 9, cotton over the pin, k. i, cotton over the pin, k. 3, 
make i, k. i. 

19th row, si. I, k. 4, p. 3, K. 9, p. 3, k. 5; 20th row, si. i, make i, k. 4, 
cotton over the pin, k. 3, cotton over the pin, k. 9, cotton over the pin, k. 3, 
cotton over the pin, k. 4, make i, k. i. 

2ist row, si. I, k. 5, p. 5, k. 9, p. 5, k. 6; 22nd row, si. i, make i, k. 5, cotton 
over the pin, k. 5, cotton over the pin, k. 9, cotton over the pin, k. 5, cotton 
over the pin, k. 5, make i, k. i. 

23rd row, si. I, k. 6, p. 7, k. 9, p. 7, k. 7; 24th row, si. I, k. 35, 
make i, k. i. 

25th row, si. I, k. 7, p. 7, k. 9, p. 7, k. 8; 26th row, si. i, make i, k. 7, k. 
2 together at the back, k. 3, k. 2 together, k. 9, k. 2 together at the back, k. 
3, k. 2 together, k. 7, make i, k. i. 

27th row, si. I, k. 8, p. 5, k. 9, p. 5, k. 9; 28th row, si. i, make i, k. 8, k. 

2 together at the back, k. i, k. 2 together, k. 9, k. 2 together at the back, k. 
1, k. 2 together, k. 8, make i, k. i. 

29th row, si. I, k. 9, p. 3, k. 9, p. 3, k. lo; 30th row. si. I, make i, k. 9, k. 

3 together, k. 9, k. 3 together, k. 9, make i, k. i. 

31st row, si. I, k. to end of row; 32nd row, in this row 3 raised patterns 
are commenced. SI. i, make i, k. 5, cotton over pin, k. i, cotton over pin, 
k. 9, cotton over pin, k. i, cotton over pin, k. 9, cotton over pin, k. i, cotton 
over pin, k. 5, make i, k. i. 

Continue to work the 3 raised patterns as described for the preceding, 
still making the increase at the beginning and end of each forward row. 
In the 44th row you complete the 3 raised patterns. 



KNITTING AND CROCHETING. 



347 



45th row, si. I, k. 46; 46th row, si. i, make i, k. 7 *, cotton over the pin, 
k. I, cotton over the pin, k. 9, repeat from * 3 times more, except that in 
the last repeat, you k. 7 instead of 9, make i, k. i. 

Continue to work the 4 raised patterns as described for the previous 
raised patterns. 

For the second half of the square, in the first forward row after the 
raised patterns are finished, knit 2 together at the beginning and end of 
the row. 

2nd row, purl without decrease; 3d row, knit, decreasing at the begin- 
ning of the row, 

4th row, purl without decrease; 5th row, k. 2 together, * cotton forward, 
k. 2 together, repeat from * till within 2 stitches of end, k. 2 last stitches 
together, 

6th row, knit without decrease; 7th row, purl, decreasing at the 
beginning and end of row. 

8th row, knit; 9th row, purl, decreasing at the beginning and end of 
row; loth row, knit, without decrease. 

Then repeat from the first row of second half until 3 stitches only 
remain, then cast off. 

WHEELS FOR TOILET SET. 

Make a chain of 10, join with s. s.; 1st row, ch. 4, 24 dc. into rino-, join 
with s. s. 

2nd row, ch. 5, i dc. into joining 
stitch of preceding row, * ch. i, i dc. 
into second stitch from preceding, ch. i, 
I dc. in same stitch as before *, repeat 
from * to * until there are twelve coup- 
lets, which should bring one back to 
starting point; ch. i, join with s. s. 

3d row, * ch. 2, I dc. into center of 
first couplet, ch. 4, join with s. s. into 
stitch from which ch. 4 starts, ch. 4, 
join in same way in same place, ch. 4, 
join in same way in same place, ch. 2, join v/ith s. s. into ch. i between first 
and second couplet of preceding row *. This forms a picot. 




348 



DAINTY WORK FOR PLEASURE AND PROFIT, 




Repeat from * to * until 12 picots are made. When this is done di small 
wheel is completed. 

To make the large wheel, go on from this point by making a ch, 4 and 
fastening it in center loop of first picot from the back with a s. s. 

4th row, ch. 7, join in 
center loop of second 
picot with s. s. ch. 7, join 
in center loop of third 
picot with s. s., and so on 
until starting point is 
reached, when there should 
be 96 stitches; join with s.s. 
5th row, ch. 4, I dc. 
into each of 96 stitches; 
join with s, s. 

^^^- -97. 6th row, ch. 5, I dc. 

into joining stitch of preceding row, * ch. 2, i dc. into fourth stitch from pre- 
ceding, ch. I, I dc. into same stitch as before *, repeat from * to * until there 
are 24 couplets, which should bring one back to starting point, ch, 2; join 
with s. s. 

7th row, same as 3d row, except there will be 24 picots mstead of 12. 
The wheels may be joined while making, or afterwards, as one chooses. 

EDGING. 

Make a chain of 40 stitches. 

1st row, dc. into 7th stitch of ch., 3 dc. into next 3 stitches, * ch. 2, dc. 
into third stitch *, repeat from * to * 4 times, 6 dc. into next 6 stitches, 
repeat from * to * 2 times, 3 dc. into next 3 stitches; turn. 

2nd row, ch. 3^ 3 dc. into last 3 dc. of previous row, (the ch. counts as 
I dc. whenever used for turning, so that there w'ill always be 4 dc. upon 4 
dc. at this point,) * ch. 2, dc. into third stitch *, repeat from * to * once, 3 
dc. into next 3 stitches, repeat from * to * 7 times, 14 dc. into loop; turn. 
(Throughout the further rows "from * to *" will mean the same as in these 
two rows.) 

3d row, ch. 3, 7 dc. into next 7 stitches, ch. 5, 4 dc. into 4 stitches imme- 
diately following the 7 stitches; repeat from * to * 3 times, 6 dc. into next 



KNITTING AND CROCHETING. 



349 



6 stitches, repeat from * to * 2 times, 3 dc. into next 3 stitches, repeat from 

* to * 3 times, 3 dc. into next 3 stitches; turn. 

4th row, ch. 3, 3 dc. into next 3 stitches, repeat from * to * 5 times, 12 
dc. into next 12 stitches, repeat from * to * 3 times, 14 dc. into loop; turn. 

5th row, ch. 3, 7 dc. into next 7 stitches, ch. 5, 4 dc. into next 4 stitches, 
repeat from * to * 4 times, 12 dc. into next 12 stitches, repeat from * to * 5 
times, 3 dc. into next 3 stitches; turn. 

6th row, ch. 3, 3 
dc. into next 3 stitch- 
es, repeat from * to 

* 3 times, 6 dc. into 
next 6 stitches, repeat 
from * to * I time, 6 
dc. into next 6 stitches 
repeat from * to * i 
time, 6 dc. into next 
6 stitches, repeat 
from * to * 3 times, 
14 dc. into loop; turn. 

7th row, ch. 3, 7 
dc. into next 7 
stitches, ch. 5, 4 dc. 
into next 4 stitches, 
repeat from * to * 3 
times, 12 dc. into 
next 12 stitches, re- 
peat from * to * 2 FIG. 
times, 12 dc. into next 12 stitches, repeat from * to * 
next 3 stitches; turn. 

8th row, ch. 3, 3 dc. into next 3 stitches, repeat from * to * 2 times, 12 
dc. into next 12 stitches, repeat from * to * 2 times, 12 dc. into next 12 
stitches, repeat from * to * 4 times, 14 dc. into loop; turn. 

9th row, ch. 3, 7 dc. into next 7 stitches, repeat from * to * i time. 7 
dc. into next 7 stitches, repeat from * to * 4 times, 6 dc. into next 6 stitches, 
repeat from * to * i time, 6 dc. into next 6 stitches, repeat from * to * i 




2 times, 3 dc. into 



350 DAINTY WORK FOR PLEASURE AND PROFIT. 

time, 6 dc. into next 6 stitches, repeat from * to * 3 times, 3 dc. into next 3 
stitches; turn. 

loth row, ch. 3, 3 dc. into next three stitches, repeat from * to * 5 times, 
12 dc. into next 12 stitches, repeat from * to * 5 times, 13 dc. into next 13 
stitches; turn. 

nth row, ch. 3, 7 dc. into next 7 stitches, repeat from * to * i time, 6 
dc. into next 6 stitches, repeat from * to * 4 times, 12 dc. into next 12 
stitches, repeat from * to * 5 times, 3 dc. into next 3 stitches; turn. 

I2th row, ch. 3, 3 dc. into next 3 stitches, repeat from * to * 2 times, 
3 dc. into next 3 stitches, repeat from * to * 3 times, 6 dc. into next 6 
stitches, repeat from * to * 4 times, 13 dc. into next 13 stitches; turn. 

13th row, ch. 3, 7 dc. into next 7 stitches, repeat from * to * i time, 6 
dc. into next 6 stitches repeat from * to * 7 times, 6 dc. into next 6 stitches, 
repeat from * to * 2 times, 3 dc. into next 3 stitches; turn. 

14th row, ch. 3, 3 dc. into next 3 stitches, repeat from * to * 3 times, 6 
dc. into next 6 stitches, repeat from * to * 5 times, 13 dc. into next 13 
stitches; turn, 

15th row, ch. 3, 7 dc. into next 7 stitches, repeat from * to * i time, 6 
dc. into next 6 stitches, repeat from * to * 2 times, 6 dc. into next 6 stitches, 
repeat from * to * 5 times, 3 dc. into next 3 stitches; turn. 

i6th row, ch. 3, 3 dc. into next 3 stitches, repeat from * to * 3 times, 6 
dc. into next 6 stitches, repeat from * to * 2 times, 15 dc. into next 15 
stitches; turn. 

17th row, ch. 3, 5 dc. into next 5 stitches, ch. 5, 4 dc. into next 4 stitches, 
repeat from * to * 5 times, 6 dc. into next 6 stitches, repeat from * to * 2 
times, 3 dc. into next 3 stitches; turn. 

i8th row, same as 2nd row, etc. 

DIAMOND EDGING. 

Make a chain of 50 stitches; ist row, 5 dc. into sixth stitch, * ch. 2, 5 dc. 
into third stitch from preceding *, repeat from * to * 4 times, ch. 2, 2 dc. into 
third and fourth stitches from preceding, repeat from * to * 6times, ch. 2, 2 dc. 
into third and fourth stitches from preceding, ch. 2, i dc. into last stitch 
of ch. 50; turn. 

2nd row, ch. 5, 4 dc. into the 4 stitches immediately preceding shell *, 
ch. 2, 5 dc. into next ch. 2 *, repeat from * to * 4 times, ch. 2, 6 dc. into the 



KNITTING AND CROCHETING. 



351 



6 stitches following the shell, repeat from * to * 5 times, join with s. s. to 
second dc. of last shell; turn. 

3d row, ch. 3, * 5 dc. into ch. 2, ch. 2 *, repeat from * to * 3 times, 10 
dc. into the 10 stitches following the shell, ch. 2, repeat from * to * 4 times, 
6 dc. into the first six stitches following shell, ch. 2, : dc. into third stitch of 
loop; turn. 

4th row, ch. 5, 8 dc. into the 
8 stitches immediately preced- 
ing shell, * ch. 2, 5 dc. into ch. 
2 *, repeat from * to * 2 times, 
ch. 2, 14 dc. into the I4*stitches 
following the shell, repeat from 

* to * 3 times, join with s. s. to 
2 dc. of last shell; turn. 

5th row, ch. 3, * 5 dc. into 
ch. 2, ch. 2 *, repeat from * to * 
once, 18 dc. into 18 stitches fol- 
lowing shell, ch. 2, repeat from 

* to * 2 times, 10 dc. into first 10 
stitches following shell, ch. 2, i 
dc. into third stitch of loop; turn. 

6th row, ch. 5, 12 dc. into 
the 12 stitches immediately pre- 
ceding shell, ch. 2, 5 dc. into ch. 
2, ch. 2, 22 dc. into 22 stitches 
following the shell, ch. 2, 5 dc. 
into ch. 2, join with s. s. into 
second dc. of last shell; turn. 

7th row, ch. 4, 4 dc. into 
last dc. of last shell in preced- fig. 299. 

ing row, (the 4 dc. with ch. 4 make the shell of five, as usual J ch. 2, 5 dc. into 
first dc. of last shell, ch. 2, pass over 4 stitches and make 18 dc. into next 18 
stitches, ch. 2, 5 dc. into last dc. of shell, ch. 2, 5 dc. into first dc. of shell, 
ch. 2, pass over 4 stitches and make 10 dc. into next 10 stitches, ch. 2, i 
dc. into third stitch of loop; turn. 




352 DAINTY WORK FOR PLEASURE AND PROFIT. 

8th row, ch. 5, 8 dc. into the first 8 dc. of preceding row, * ch. 2, 5 dc. 
into first dc. of first shell, ch. 2, 5 dc. into ch. 2, ch. 2, 5 dc. into last dc. of 
last shell, * ch. 2, pass over 4 stitches and make 14 dc. into next 14 stitches, 
repeat from * to * once; turn. 

gth row, ch 4, 4 dc. into last dc. of last shell, * ch. 2, 5 dc. into ch. 2, 
ch. 2, 5 dc. into ch. 2, ch. 2, 5 dc. into first dc. of third shell, ch. 2 *, pass over 
4 stitches and make 10 dc. into next 10 stitches, ch. 2, 5 dc. into last dc. of 
first shell, repeat from * to * once, pass over 4 stitches and make 6 dc. into 
next 6 stitches, ch. 2, i dc. into third stitch of loop; turn. 

lOth row, ch. 5, 4 dc. into first 4 dc. of preceding row, * ch 25 dc. into 
first dc. of first shell, ch. 2, 5 dc. into ch. 2, ch. 2, 5 dc. into ch. 2, ch. 2, 5 dc. 
into ch. 2, ch. 2, 5 dc. into last dc. of fourth shell, * ch. 2, pass over 4 stitches 
and make 6 dc. into next 6 stitches, repeat fiom * to * once; turn. 

iith row, ch. 4, 4 dc. into last dc. of last shell, * ch. 2, 5 dc. into ch. 2 *, 
repeat from * to * 3 times, ch. 2, 5 dc. into first dc. of fifth shell ch. 2, qass 
over 4 stitches and make 2 dc. into next 2 stitches, ch. 2, 5 dc. into last dc. 
of first shell, repeat from * to * 4 times, ch. 2, 5 dc. into first dc. of fifth shell, 
ch. 2, pass over 4 stitches and make 2 dc. into next 2 stitches, ch. 2, i dc. 
into third stitch of loop: turn. 

i2th row, same as 2nd row, etc. 

FERN TRIMMING. 

The heading of this trimming is worked shortwise, and the scallop edge 
lengthwise. 

Make a chain of 7 stitches, join round, ist row, 5 ch., 8 tr. under the 
ch.; turn. 

2nd row, 4 ch. *, pass over i tr., i tr. into the next, i ch., repeat from * 
3 times more, 4 ch., 8 tr. under 5 ch.; turn and repeat from second row for 
the length required. 

For the edge, which is worked lengthwise: 

1st row, I dc. into a point of heading, 6 ch., i dc. into next point; 
repeat to the end of the row. 

2nd row, i tr. into a stitch, i ch., pass over one stitch and repeat. 

3d row, I dc. into each of 13 stitches, 5 ch., pass over 5 stitches, i tr. 
into each of 3 stitches, 5 ch., pass over 5 stitches- repeat from the begin- 
ning of the row. 



KNITTING AND CROCHETING. 



353 



4th row, I dc. into each dc. of last row, 4 ch., i tr. into last of 5 ch. and 
each of 2 next stitches, 3 ch., i tr. into same stitch last tr. was worked into 
and I into each of the 2 next stitches, 4 ch.; repeat from the beginning of 
the row. 

5th row, I dc. into the second of 13 dc. and i into each of 10 following 
stitches, 4 ch., i tr. into each of 3 next tr., i ch., 3 tr. into center of 3 ch., i 
ch., I tr. into each of 3 tr., 4 ch.; repeat from the beginning of the row. 

6th row, I dc. into the second and each of 8 following dc, 3 ch. *, i tr. into 
each of 3 tr., i ch., repeat from * once more, 3 ch., i tr. into same stitch the 
last tr. was worked into and i into each of 2 next stitches, i ch., i tr. into 
each of 3 next tr., 3 ch.; repeat from the beginning of the row. 




FIG. 300. 

7th row, I dc. into the second and each of 6 following dc, 3 ch. *, i tr. 
into each of 3 next tr., i ch., repeat from * once more, i ch. 3 tr. into center 
of 3 ch., I ch.. I tr. into each of 3 next tr., i ch., i tr. into each of 3 next 
tr., 3 ch.; repeat from the beginning of the row. 

8th row, I dc. into the second and each of 4 following stitches, 3 ch. *, i 
tr. into each of 3 next tr., 2 ch., repeat from * once more, 2 tr. into next 
stitch, I into the next, 3 ch., i tr. into same stitch last was worked into, 2 
into the next *, 2 ch., i tr. into each of 3 tr., repeat from last * once more, 
3 ch.; repeat from the beginning of the row. 

9th row, I dc. into each of 3 center stitches of dc, 2 ch. *, i tr. into 
each of 3 tr., repeat from * 6 times more, working the center 3 tr. into cen- 



354 DAINTY WORK FOR PLEASURE AND PROFIT. 

ter of 3 ch., 3 ch.; repeat from the beginning of the row. 

lOth row, * I tr. into each of 3 tr., 2 ch., repeat from * twice more, 2 
ch., 2 tr. into next tr., i into the next 2 ch., i tr. into same stitch last worked 
into, 2 into the next *, 2 ch., 2 tr. into each of 3 next tr.; repeat from last 
* twice more, then repeat from the beginning of the row. 

nth row, i dc. under first i ch. of scallop *, 4 ch., i dc. under the next 
2 ch.; repeat from the beginning of the row. 

I2th row, 6 dc. under each 4 ch. of last row. 

On the other side of the heading stripe work 2 rows like the 2 first 
rows of edge. 

CROCHET TRIMMING. 

This trimming is worked lengthwise. Make a chain the length 
required. 

1st row, I tr. into a stitch, 2 ch., pass over 2 stitches and repeat. 

2nd row, i dc. into each stitch of previous row. 

3d row, I sc. into each of 6 stitches, 16 ch., work down the chain with 
I sc. into first stitch, i dc. into next, i half tr. into each of 10 next stitches, 
I tr. into each of the next stitches, pass over i stitch of last row, then 
repeat from the beginning of the row. 




FIG. 301. 

Turn the work, and work a row of points at the back of the last row 
in exactly the same way as already described. 

4th row, turn the two points which lie together, one to the right, the 
other to the left, and interlace them, as shown in the illustration, work i sc. 
into 2 points together, 7 ch.; repeat from the beginning of the row. 



KNITTING AND CROCHETING. 355 

5th row, I dc. into each stitch of last row. 

6th row, I dc. into each of 9 stitches of last row, 1 1 ch., pass over 9 
stitches and repeat from the beginning of the row. 

7th row, I dc. into each of the 7 center stitches of 9 dc, * 2 ch., pass 
over I stitch, i tr. into the next, repeat from * twice more, 3 ch., i tr. into 
same stitch last tr. was worked into, * 2 ch., pass over i stitch, i tr. into 
the next, repeat from last * once more, 2 ch., then repeat from the begin- 
ning of the row. 

8th row, I dc. into each of 3 center stitches of 7 dc, 4 ch., pass over 4 
stitches, I dc. into the next, * 4 ch., pass over 2 stitches, i dc. into the next, 
repeat from * 5 times more, 4 ch.; repeat from the beginning of the row. 

NARROW EDGING. 

The edging is worked backwards and forwards as follows: 14 ch., turn; 

1 sc in the ninth, ch. (the last stitch is reckoned here and afterwards as 
the first stitch), 7 ch., i sc. in the 14'h ch.; turn; * 7 ch., i dc. in the sixth 
of these 7 ch., I ch., i sc, in the fourth of the next 7 ch., 4 ch., i dc. in the 
last but one of these 7 ch., i ch., i sc. in the fourth of the 8 ch.; turn. 

8 ch., I sc. in the first of the 4 ch., 7 
ch., I sc. in the first ch. of the following 
ch. curve beside the top of the dc, 13 ch.; 
turn. 

Loop on to the last ch. beside the fig. 302. 

foot of the dc, i ch., i si., i sc. and i dc. in the second-fourth ch., 2 ch., in 
the course of the work loop here on to the last picot of the foregoing curve, 

2 ch., 1 sc in the last dc, i ch., i dc. (this like the following dc. are worked 
into each of the next ch.), i picot (here and later on of 4 ch., and i sc. in 
the last dc), i ch., i dc, i p., i ch., i dc, i p., i ch., i dc, i p., i 
ch., I dc, I sc. and i si. in the next 2 ch., 4 ch., i dc. in the last ch. but one, 
I ch., I sc. in the fourth of the 7 ch., 4 ch., i dc in the sixth of the same 7 
ch., I ch., I sc. in the fourth of the 8 ch.; turn; 8 ch., i sc. in the first of the 
4 ch., 7 ch., I sc, in the first of the next 4 ch., turn, and repeat from star. 

BROAD EDGING. 
The scallops of the wide cotton braid are to be laid over each other as 
seen, and in the straight edge thus made are crocheted alternately i dc. 
and I ch. 




356 



DAINTY WORK FOR PLEASURE AND PROFIT. 



2nd row, repeat constantly i dc. in every second dc, 3 ch. and 4 dc. 
round the single dc. 

3d and 4th rows, like the first row, the single dc. being caught into the 
first of the A dc. 




FIG 303. 

5th row, alternately i sc, in the first of the 4 dc. and i ch; 6th row, 
alternately i dc. and i ch. 

The lower, curved edge fulled somewhat, requires: ist row, alternately 
1 tr. in the braid curve turned over, and 13 tr., separated by i ch. in the 
next curve not turned over. 

2nd row, round each single ch. i tr., and between these 2 ch.; 3d row, 
round each of the 2 ch, 2 tr., and between these groups of dc. a picot of 4 
ch. and i sc. back into the last dc. 



NARROW CORAL EDGING. 

This edging is worked of 10 ch., i sc, back into the ninth ch., ii ch,, 
I sc. in the third last but one of the 10 ch., i ch., i dc, in the last of the 10 
ch., * t 5 ch. loop on to the sixth of the n ch. (the stitch to be looped on 
had better be slipped off first, the hook inserted into the link required, then 
the stitch taken up again and both stitches now on the hook meshed 




KNITTING AND CROCHETING. 357 

off, putting the cotton over oncej, 5 ch., i double long tr. in the dc, 5 ch., 
loop on as before, 11 ch. again loop on as before, 5 ch. j, loop next on to 

the first sc, later on always at the place 

where the 6 ch. were slung on, 9 ch., loop on 

to the sixth of the 11 ch. left hanging; turn. 

5 ch., I dc, work three times 2 ch. and i 

FIG. 304. dc. (these 4 dc. are worked into each of the 

second of the 9 ch.), 2 ch., i sc. worked first into the first sc, later on again 

after the 6 ch., turn. 

5 picots of 4 ch. and i dc. back into the last sc, between the picots 1 
sc always in to the dc. after the last picot, i sc. in the sixth of the 11 ch. 
already caught up, 11 ch., i sc. in the ch., before the double long tr., i ch., 
I dc. in this double long tr. ; repeat from cross to cross, then loop on to the 
sc after the last picot, 6 ch., loop on to the sixth of the 11 ch., 11 ch., i sc. 
in the last ch. before the double long tr., i dc. in the double long tr., and 
repeat from star, 

RETICELLA CROCHET. 

The pattern here given is at once beautiful and of practical service as 
it can be varied in width and used for many different purposes. Figure 306 
shows the design as a border, and figure 305 shows it used as an insertion 
for trimming dinner cloth in place of drawn work. This crocheted lace 
has this great advantage over the same amount of drawn work, that it 
requires less than one-quarter the time to make, is comparatively no tax on 
the eyes, and looks equally well; made of fine Scotch crochet linen thread 
it will last a life-time. If anyone wishes a narrow insertion one row of the 
square and stars bordered by an edge will be very pretty. 

This trimming is not dif^cult, yet requires some practice in crochet. 
One row of the three pattern shapes of which the trimming is composed 
give alone a pretty insertion, and are crocheted separately, beginning in 
the middle, yet must be joined In the course of the work, see the illustra- 
tion. Each square is begun with 12 ch. closed to a ring; then follow: 5 ch., 

1 tr. in the last ch., which finishes the ring, * 5 ch., 2 tr., meshed off looping 
the cotton over once, in the first ch., 7 ch., i sc. in the next ring-ch., 7 ch., 

2 tr. meshed together looping cotton over once, in the next ring-ch. and 
repeat three times from star. 



358 DAINTY WORK FOR PLEASURE AND PROFIT. 




CROCHETED RETICELLA LACE. FIG. 306. 



KNITTING AND CROCHETING. 359 

In repeating for the third time after the second 7 ch. pass over with 
3-4 si. the first group of bars and the next 2 ch., then, as a foundation for 
the thick edge, work 8 ch., i dc. in the third of the 5 ch., therefore beside 
the last si., * 7 ch., work always twice 2 tr., meshed together, looping cotton 
over twice; the first group of bars is worked into the third of the first 7 ch., 
the second into the fifth of the next 7 ch., 7 ch., i dc, in the third of the 
5 ch., 5 ch., I dc. again in the third ch. and repeat from star. After the 
last 7 ch. I si. in the third of the 8 ch. with which the row was begun. 2 
rows of sc. are now crocheted stitch for stitch, and for the corners 3 sc. 
always worked in the third of the 5 ch. A row of i dc, i ch. completes the 
square, 2 dc. being always worked in each corner mesh. 

The rosette-like shapes are begun with a ring of 8-10 ch. into which are 
worked after 3 ch. (in place of first dc.) 23 dc. Then i si. in the third ch., 
3 ch. (in place of first dc.) and ii times 3 ch. and i dc. in every second dc, 3 
ch,, I si. in the fourth ch., * i sc. round the 3 ch., 4 ch., 2 tr. each meshed 
together looping the cotton over once, 3 ch., again 2 such tr., 4 ch., and i sc, 
these and the group of bars round the same 3 ch., as also the i sc, repeat 
1 1 times from star. Work up to the top of the first scallop with si, here 
work 1 sc. round the 3 ch., then 12 times 7-9 ch. and i sc. round the 3 ch., i 
si. in the i sc, round each scallop 4 sc, i p., (4 ch. and i sc. back into 
the last sc.) 3 sc, i p., 4 sc, then loop on to the first sc, fasten the 
thread and cut off carefully. 

The third star-like shape begins with a ring of 8-10 ch., in which are 
worked 24 sc. Now follow i si. in the first sc, * 9 ch., i sc. in the third 
following sc. but one; repeat from star; the last sc. is caught into the si., 
then work 5 si. in the next 5 ch., * i p., 13 ch., i sc, in the foot of the picot 
I p., I sc. in the fifth ch., which catches up the last si., 5 ch., i sc, in the 
fifth ch., I p., 5 ch., 1 sc in the foot of the picot, i p., i sc, in the fifth ch. 
already caught up, 5 ch., i sc. in the fifth ch,, and repeat from star. The 
first row at the lower pointed edge is worked backwards the whole length. 
To each square are joined 4 scallops of 6 ch., i p. turned downwards, 6 ch. 
and I sc. (see figure 306), while above each star shape the following stitches 
are- crocheted: 5 ch., i sc. in i p., 4 ch., i p. turned downwards (see figure 
306), 4 ch., I sc. in I p., again 8 ch. separated by i p., again i sc, 5 ch., and 
the first sc. in the corner of the square. Beginning with the small point, 
this is now completed separately, and in rows backwards and forwards, as 



36o DAINTY WORK FOR PLEASURE AND PROFIT. 



already mentioned above. Round the chain curves are worked 6 as also I2 
sc, where they are not interrupted by a picot, yet where this takes place 
after figure 306, 4 



sc, are worked be- 
fore the picots and 
between, and after 
these always 3 sc. 

The curves on 
the large pointed 
scallop are each of 
6 ch., I p. turned 
downwards, and 6 
ch. They are cro- 
cheted where the 
picots are wanting, 
with 7 and also 14 
sc, while 4 sc. al- 
ways go before, 
separate, and fol- 
low the picots. 

Figure 306 ex- 
plains the upper 
edge, therefore it 
is only necessary 
to add that the 
small leaf-curves, 
each separated by 
I sc, are of 4 ch. 
and I dc back into 
the first ch. worked 

twice. TABLE COVER. FIG. 305. 

The above description has been very carefully verified and there will 
be no trouble in following. When used as an insertion for table cloth, it 
should be set in with a double hem on the outside with a row of hemstitch- 
ing on both edges. 




KNITTING AND CROCHETING. 



361 



CROCHET TOP PETTICOAT FOR CHILD. FIGURES 307-309. 

Crochet pattern of bodice, figure 307. Materials: 1^4 pound of red 
wool, and a few skeins of white Berlin wool. 

This petticoat is to be worn under the dress, and is not at all difficult to 
crochet. The work is begun at the neck-opening with a foundation of 129 
ch., then working forwards, after 2 ch., more, alternately 4 dc, separated 
in the middle by 2 ch., in the last foundation mesh and each fourth follow- 
ing mesh but one, so that 33 groups are made on the whole. The whole 
bodice is crocheted, going backwards and 
forwards, in this simple pattern, but from here 
the 4 dc. are worked round the 2 ch. in the 
former row. Each row is begun with 2 ch. 
In the 2nd row the worker has to increase 
the meshes for the width of the shoulder at 
the fifth group of dc, and to crochet instead 
3 times 2 dc. always separated by 2 ch. round 
the 2 ch., this being repeated at the loth, 24th 
and 29th groups, the row is finished with 4 
further groups. 

With the 3d row which has 37 groups 
of dc. on account of the increase, the shoul- 
der strap is completed. 

In the 4th row ii ch. are cast on for 
the armhole after 5 groups of dc, and then 7 groups of the former row 

passed over; when 13 groups of dc. have been 
crocheted 11 stitches are again cast on for the 
second armhole and 7 groups passed over. 

5th row, a fresh group of dc. is always 
worked in the fourth and eighth foundation 
mesh after 5 groups of the same and this is 
repeated after 13 groups; this row is of 27 
groups including the next following 5 groups. 
DETAIL OF WAIST. ?iG. 308. ^^^ ^^^ ^^ j.^.^ rows havc the same number 

of groups and complete the bodice. For the waistband follow i row of sc, 
and over each group of dc. come 5, over the first and last always 4 r<c. 




FIG. 307. 




362 DAINTY WORK FOR PLEASURE AND PROFIT. 



these being caught into the upper link of each mesh and i row of dc. into 
the whole link; each of these rows has 133 meshes. The skirt is now 
begun and requires larger groups of dc, increased gradually in size going 
downwards, as seen in the full size on figure 307. 

1st row, I dc. in the first mesh, 3 dc. in the following one, again i dc. 
in the next mesh; this group is repeated 26 times passing over 2 meshes 
every time. 

2nd to 4th row, like the ist; the three dc. are each worked into the 
second of the 3 dc. of the former row. As the skirt slit is now long 

enough, the crochet is worked round from 
this time. 

5th to 7th row, like the former one. 
8th row, alternately i group of 5 dc. and 
I group of 6 dc, 2 dc. being always worked 
at the last one of these into the three middle 
dc of the former row. 

9th row, only of groups of 6 dc, these 
being caught alternately into the 3 middle 
meshes of the 5-part group, and into the 
2nd-5th dc. of the 6-part group. 
DETAIL OF SKIRT. FIG. 309. lotli to 15th row, groups of 6 dc, like the 

last described; i6th row, groups of 7 dc, which catch up the second dc 
singly, the 3rd-5th dc. always in twos. 

17th to 22nd row, like the i6th row of groups of 7 dc, the first, fourth 
and seventh dc. being caught into the second, fourth and sixth dc. of the 
former row, the second and third dc. into the third dc. of the same, and the 
fifth and sixth dc. into the fifth dc. The skirt is now finished and picots each 
of I sc, 5 ch., I sc back into the second ch. and i ch., are crocheted on at the 
edge with white wool. Curves each of 2 sc, i half dc, i dc, i half dc. and 2 
sc, the latter being each caught round the ch. are also worked with white 
wool round the neck-opening and back edges of the bodice. An edging of 
2 rows is worked round the sleeve. 

1st row, groups of dc like those on the bodice; 2nd row, 4 to 5 sc. each 
made round the 2 ch. between the dc. The petticoat is fastened at the 
back with strings. 




KNITTING AND CROCHETING. 
CROCHET TASSEL. 



363 



This illustration shows in the proper size, and without tassels, a 
trimming for bordering small tables. It is crocheted with German wool in 
three shades of brown. The left side of the work is turned to the outside 
when the trimming is used, and enriched with gold tinsel. The upper 
scallops are made first with the middle shade and in constant repetition, as 
follows: 5 ch. and in these going backwards and leaving the last unworked, 




FIG. 310. 

I sc, I half tr., i dc, and I tr. At the foot of the points the next row is 
worked with the darkest wool: i si. in the hollow of a scallop, * 12 ch., 
passing over the last, back into the iith-7th ch., i sc, 3 dc. and i sc, 6 ch. i 
si. in the second next hollow of a scallop but one, 13 ch., take the hook out 
of the thread loop and put this from below to above through the sixth ch., 
5 ch., I si. in the next hollow of a scallop and repeat from star. 



364 DAINTY WORK FOR PLEASURE AND PROFIT. 

The 3d row now follows with the lightest wool, leaving the second row 
at the back untouched: * In the hollow of the scallop, which is not caught 
up by the darkest wool, 5 dc, 6 ch. in the fourth of the 7 ch. which form a 
ring of the darkest wool, 6 si. each separated by 5 ch., 6 ch, and repeat from 
star. Chain stitches of tinsel thread border the upper scallops and the 
ovals in the second (darkest) row; the rows of chain above the same being 
wound over several times with tinsel thread, after which, starting from the 
left side, the middle mesh in the group of bars in the lightest row is united 
invisibly with the darkest by a few stitches, fastening at the same time 
both ends of the tinsel thread. The half rosettes of the light wool are then 
ornamented with long star-like stitches of the latter, and the chains of the 
two dark shades united by twisting them several times with the same. To 
make tassels to susqend from each of the points, take about 40 threads, 
each from 4^4 to 5^ inches long of the middle shade; twist over very 
tight in the middle with black thread, and then about s/q inches 
from below with tinsel thread. Fasten each tassel on the left of the light 
half rosette by drawing a loop of wool through the black thread. 

DAISY CROCHET LACE. 

Commence with the circles which form the heading, * 4 ch., i sc, into 
the second, repeat from * 7 times more, draw through the first ch.. 3 ch. to 
take the place of a tr., * 5 ch., i tr. between 2 next picots, repeat from last * 
6 times more, 5 ch., draw through third of first 3 ch. 

In working the next and following circles, draw through the center of 
one of the 5 ch. Continue to work the circles until you have the length 
required. 

For the ist straight row of heading, work i double tr. into center of 5 
ch. at left hand of a circle (see figure 311), i double tr. in center of 5 ch. of 
next circle, 6 ch., i tr. into center of next 5 ch., 6 ch., repeat from the 
beginning of the row. 

2nd row, i tr. into a stitch, i ch., pass over i stitch and repeat. Work 
2 rows like these on the other side of circles. 

3d row, I tr. into a stitch, 2 ch., pass over 2 stitches, and repeat. 

4th row, I dc. into each of 16 stitches, 9 ch. pass over 6 stitches, and 
repeat from the beginning of the row. 



KNITTING AND CROCHETING. 



365 



5th row, I dc. into the second and each of 13 following dc, 2 ch., pass 
over the first of 9 ch., i tr. into each of 3 next stitches, 2 tr. separated by 2 
ch. into the next, i tr. into each of 3 next stitches, 2 ch.; repeat from the 
beginning of the row. 

6th row, I dc. into the second and each of 11 following dc, 2 ch., i tr., i 
ch. into the second and each of 2 next tr., i ch., 2 tr., 3 ch. under 2 ch., 

1 ch., I tr. into each of 3 tr., 2 ch.; repeat from the beginning of the row. 

7th row, I dc. into the second and each of 9 following dc, 3 ch., 1 
tr., I ch. into each of 4 tr., i ch., i tr. into next stitch, i ch., 2 tr. separated 
by 2 ch. into the next stitch, i ch. i tr. into next stitch, i ch. i tr. into each 
of 4 tr., 3 ch.; repeat from 
the beginning of the row. 

8th row, I dc. into the 
second and each of 7 fol- 
lowing dc, 4 ch., 22 tr. 
over the tr. of last row the 

2 center tr. are worked 
into, I stitch, and are sep- 
arated by 2 ch., 4 ch.; 
repeat from the beginning 
of the row. 

9th row, I dc worked 
into each of the 3 center 
dc. of last row, 5 ch., 24 tr. 
each separated by i ch. 
over the tr. of last row, 
the 2 center tr. are separ- fig. 311. 

ated by 2 ch. are worked into i stitch, 5 ch.; repeat from the beginning of 
the row^ 

lOth row, I sc into center of 3 dc, 6 ch., i sc into first tr., 3 ch., pass 
over 3 stitches, i dc, into next stitch, 3 ch., i sc into the first, 4 ch., i sc. 
into last sc, 3 ch., i sc. into last sc, i dc. into next stitch of last row, 3 ch., 
pass over 2 stitches, i dc. into the next, * 7 ch., i sc. into the fourth, 4 ch., 
I sc. into last sc, pass over 2 .stitches of last row, i tr. into the next, 3 ch., i 
sc into the first, 3 ch., pass over 2 stitches and repeat from * 4 times more, 




366 DAINTY WORK FOR PLEASURE AND PROFIT. 

then work another cluster like the first cluster of scallop, 6ch.; repeat from 
the beginning of the row. 

CROCHETED GUIPURE LACE. 

This design is suitable for border for table cover or bedspread. To 
work, use Scotch linen crochet thread, No. 70. It is also effective crocheted 
with coarse cotton and gummed, after which pin it out on a board to dry; 




CROCHETED GUIPURE LACE. FIG. 312. 

when dry and stiff, coat with gold paint. This will make a most novel and 
effective drapery for brackets, wall baskets, etc. 

Commence in the center of the pattern with a chain the length that 
you wish the finished work to be. 

1st row, work i dc. into each of 22 stitches, 4 ch., pass over 3 stitches, 
3 tr. into the next, 4 ch., pass over 2 stitches and repeat from the beginning 
of the row. 



KNITTING AND CROCHETING. 367 

2nd row, i dc. into the third and each of the 17 following dc, 3 ch., 3 
tr. into the last of 4 ch., 4 ch., 3 tr. into the first of next 4 ch., 3 ch.; repeat 
from the beginning of the row. 

3d row, I dc. into the third and each of 12 following dc, 3 ch., i tr. 
into each of 3 tr., 3 ch., 3 tr. into center of next 4 ch., 3 ch., i tr. into each 
of 3 next tr., 3 ch.; repeat from the beginning of the row. 

4th row, I dc. into the third and each of 7 following dc, 3 ch., i tr. 
into each of 3 next tr., 3 ch., 3 tr. into next tr., 3 ch., pass over i tr., 3 tr. 
into next, 3 ch., i tr. into each of 3 next tr., 3 ch.; repeat from the begin- 
ning of the row. 

5th row, I tr. into the second and into each of the 5 following dc, 3 
ch., I tr. into each of the 3 next tr., 4 ch., i tr. into each of 3 next tr., 3 ch., 
3 tr. into 3 ch., 3 ch., i tr. into each of 3 next tr., 4 ch., i tr. into each -of 
3 next tr., 3 ch.; repeat from the beginning of the row. 

6th row, 9 ch., i sc into center of dc, 3 ch., i sc into fourth of 9 ch., 
3 ch., I sc. into second of 9 ch., i double tr. into each of 3 next tr., keep 
the top loop of each on the hook, and draw through altogether, 6 ch., 3 
double tr. worked like the last into next tr., 3 ch., 3 double tr. worked as 
before into next tr., 4 ch., pass over i tr., 3 double tr. worked as before into 
next tr., 3 ch., 3 double tr. worked as before into next tr., 6 ch., 3 double tr. 
worked as before into next tr. ; repeat from the beginning of the row. 

7th row, I double tr. into second cluster of double tr. (see design), 5 
ch., I tr. into next cluster, 7 ch., i tr. into next cluster, 5 ch., i double tr. 
into next ctuster, 6 ch., work one quadruple tr. into fifth of 6 ch., work off 
two loops, work a double tr. into same stitch, work 2 double tr. into corres- 
ponding stitch of next scallop, work off the rest of the loops of the quad- 
ruple tr., 6 ch.; repeat from the beginning of the row. 

8th row, I tr. into a stitch, i ch., pass over i stitch and repeat. 

Commence the other half on the other side of the foundation chain; it 
is worked exactly like the first half. 

For the edge: 

1st row, I double tr. into a stitch, i ch., pass over one stitch and repeat. 

2nd row, 3 tr. into a stitch, 4 ch., pass over 4 stitches, i dc. into each of 
II stitches, 4 ch., pass over 3 stitches; repeat from the beginning of the 
row. 



368 



DAINTY WORK FOR PLEASURE AND PROFIT. 



3d row, 3 tr. into first of 4 ch., 5 ch., 3 tr. into next ch., 3 ch., 7 dc. 
over dc. of last row, 3 ch.; repeat from the beginning of the row. 

4th row, I tr. into each of 3 tr., 3 ch., 3 tr. into center of ch., 3 ch., 3 tr, 
into tr. of last row, 3 ch., 3 dc. into center of dc. of last row, 3 oh.; repeat 
from the beginning of the row. 

5th row, I dc. into the first tr., 5 ch., i dc. into the second, i ch., i tr. 
into third tr., * 7 ch., I dc. into the third ch., i tr. into next stitch, repeat 
from * four times more, 2 ch., i dc. into the last tr., 2 ch.; repeat from the 
beginning of the row. 

CROCHETED TABLE COVER. 

This cover is about twenty-four inches square and crocheted with cream 
linen thread No. 70. The center and edging are worked of the same trans- 
parent star design, and are separated by a thick band, one and one-half inches 
wide. The work is begun with the single stars in the center, afterwards 
united by a guipure ground. 

Each row of stars requires: 2 ch., i picot, 2 ch., 
I picot, 8 ch., I picot, 2 ch., i picot, 2 ch., i sc. 
in the top of the last sc, i picot, 2 sc. in the 2 
next ch., i picot, 4 sc. in the next 4 ch., * 4 ch., i 
picot, 2 ch., I picot, 2 ch., i sc. in top of the last sc, 
I picot, 2 sc. in the 2 ch., i picot, 4 sc. in the 4 ch. 
Repeat once more from star, so that then three rays 
of a star are finished. 

Then follow: 4 ch., i picot, 2 ch., i picot (a half 
ray), 11 ch., i picot, 2 ch., i picot, 8 ch., i picot, 2 
ch., I picot, 2 ch., I sc. in the last sc, i picot, 2 sc. in 
the 2 ch., I picot, 4 sc. in the next 4 ch., by which 
again one ray of the second star is finished; two 
more following are made exactly like these. 

The worker must then repeat from double dot 
until the number of stars required for one row are 
made— on the pattern cover there were eight — yet in 
crocheting the last star seven rays instead of three 
are made, one after another, and the half-star then completed, going for- 
wards as follows: * 4 sc. in the next 4 ch., i picot, 2 sc, i picot, 2 sc, 7 
ch., 2 sc, I picot, 2 sc, I picot, 4 sc. 




FIG. 313. 



KNITTING AND CROCHETING. 339 

Three rays now follow these meshes, which are repeated from star, 
until the row is finished. 

The rows of stars are crocheted together, beginning with i sc. worked 
into the point of the last finished ray, and require: 11 ch., i sc. in the fol- 
lowing point of the ray, * work twice 11 ch. and i sc. each in the next ray. 




EDGE FOR TABLE COVER. FIG. 314. 

8 ch., I sc. in the fourth of the 7 ch. between the stars, 8 ch. i sc. in the 
next ray of the second star. 

Work four times 2 ch., ana i picot, then loop i ch. on to the sc. which 
are caught into the last ray of the foregoing star before the first 8 ch., going 



3/0 



DAINTY WORK FOR PLEASURE AND PROFIT. 



forwards i sc. into the i ch., then work four times i picot and 2 ch.; now 
repeat from star until the whole row is bordered round. 

At the end of the row, as at the beginning, three times ii ch. and i sc. 
in the point of the ray. 

For the second row crossing the just-described one, the thread is again 
put on at the point of the first ray for the second row of stars and the cro- 
chet continued thus: ii ch., i sc. in the next point of the ray, work four 
times 2 ch. and i picot. The illustrations will make this quite clear. 

Then i ch.,loop 
on to the sc, which 
catch up the last ray 
but one of the first 
low of stars, going 
forwards i sc. in the 

1 ch., four times i 
picot and 2 sc. in the 

2 ch. (the picot bar 
thus made is caught 
up later on between 
the second and third 
picot by one sc. of 
the first row of the 
band), * 8 ch.; loop 
on to the 3 ch. of 
the opposite chain 
length of the for- 

CKOCHI-.TKD TABLK COVER. FIG. 315. mCr rOW, 3 ch., I SC. 

in the point of the next ray, 3 ch., loop on to the 3 ch. of the 
opposite chain of the former row, 8 ch., i sc. in the next ray point, twice 2 
ch. and i picot, then i ch., loop on between the second and third picot of 
the whole picot bar of the former row, going forwards i sc. in the i ch., 
twice I picot and 2 sc. in the 2 ch., 8 ch., i sc. in the fourth of the seventh 
ch., 8 ch., I sc. in the next ray point of the following star, twice 2 ch. and i 
picot, then i ch., again loop on between the second and third picot of the 
above-mentioned picot bar, going forwards i sc. in the i ch., twice i picot 




KNITTING AND CROCHETING. 371 

and 2 sc. in the 2 ch.; repeat from star until the row is finished; at the end 
of the same a whole picot bar must be crocheted, as at the beginning, which 
is again to be looped tight to the first star row. 

It must be remarked that at the outer edge of the first and last row of 
stars, the first uniting row through a half-picot bar is required at each cor- 
ner of the cover (see figure 315). 

When the center is finished the band is crocheted, beginning at one of 
these half-picot bars at the corner: i sc, in this * 11 ch., i sc. in the third 
last ch. but one of the next 11 ch. of the center, 5 ch., i sc. in the third ch. 
of the following 11 of the center, 11 ch., i sc. between the second and third 
picot of a whole picot bar. 

Repeat from star. 

In the second row i dc. comes alternately with i ch., in the corner 
meshes 3 dc. are always to be crocheted. 

Now follow 10 rows of sc, worked into each hind mesh link, and in 
each corner mesh again 3 sc 

The last open bar row (double) is shown, figure 314, with the edging. 
For this two rows of stars are to be set together (see figure 315). 

Figure 314 shows clearly how the row margining the edging inside is 
joined at once to the band. 

Figure 313 gives the corner of the same always made of three half-picot 
bars; also the execution of the outer part of the edging offers no difficulty 
after figure 315. 

PETTICOAT: KNITTING AND CROCHET. 

Materials required: 12 ounces of peacock German wool, one pair wooden 
pins, No. 12, and one pair No. 10, steel. 

This petticoat is very convenient to work, being knitted in stripes, 
eight of which are needed. The stripes are sewn together, and the border 
is worked separately, and is sewn on to the edge of stripes. 

Commence at the bottom of the stripe; cast on 40 stitches, with pins 
No. 10. 

1st row, k. 5, p. 4, * k. 2, p. 3; repeat from * 5 times more. 

2nd row, the stitches that were purled in the previous row are to be 
knitted, and those that were knitted purled. 

3d row, like ist row; 4th row, like 2nd row. 



372 



DAINTY WORK FOR PLEASURE AND PROFIT. 



5th row, k. 5, p. 5, * k. 7. p. 3; repeat from * to end of row. 
6th row, knit the purl, and purl the knitted stitches of previous row. 
7th row, like 5th row; 8th row, like 6th row. 

Repeat from the ist row until you have worked 16 inches, then begin 
the decrease by knitting 2 together in the basket patterns, leaving the 
broad knitted and purled stripe the same width throughout; the decrease 

is made in every 4th row, until you have 
only 3 of the purl squares in a row; 
work without decrease until the petti- 
coat is long enough, after reckoning 
for the border, then cast off. 

Sew all the stripes together, stitch 
by stitch, with a needle and wool. 

For the border, cast on 30 stitches 
with pins No. 12. 

1st row, knit; 2nd row, purl; these 
2 rows are repeated twice more. 
7th row, purl. 

8th row, knit, repeat from 7t hrow 

twice more, then repeat from the ist 

row until you have worked a length suf- 

FiG. 316. ficient to go around the lower edge 

of petticoat. Sew the border to the petticoat and work an edge of crochet 

scallops: 5 trebles into center row of one stripe, I double into first row of 

next stripe; repeat from the beginning of row. 

Leave the two back stripes of petticoat unjoined for about 12 inches, 
bind the edge of opening with a piece of satin ribbon, then sew the top 
of stripes into a silk band, and fasten with a button and buttonhole. 

TRIMMING: CROCHET AND BRAID. 

Materials required: Linen thread. No. 80, a narrow point lace braid, and 
a fine crochet hook. 

Commence in the center of a rosette with 3 ch.; join round. 

1st round, 12 dc. under the ch. 

2nd round, 2 dc. into each stitch of last round. 




KNITTING AND CROCHETING. 



373 



3d round, i dc. into a stitch, 3 ch., i dc. into next stitch; repeat from 
beginning of round. 

4th round, i dc. into center of 3 ch., 5 ch.; repeat all round. 

5th round, i dc. into center of 5 ch., 9 ch., i dc. into the fifth *, 5 ch., i 
dc. into the second, repeat from * twice more, i sc. into fourth of 9 ch., 3 
ch.; repeat from the beginning of the round. 

6th round, i dc. between second and third picots of a loop of last 
round, * 5 ch., i dc. into the second, repeat from * 4 times more, then repeat 
from the beginning of the round, pin to first stitch of round, break off the 




FIG. 317. 

thread and fasten securely at the back of the work; when working the last 
round of the next and following rosettes join to previous rosette by draw- 
ing through a picot on each of two scallops — see figure 317. 

For the heading: 

1st row, hold the rosettes in the left hand, work i dc. into the center 
picot of first scallop after the joining of second rosette *, 12 ch., i dc. into 
the eighth, 5 ch., i dc. into next picot, 12 ch., i dc. into the eighth, 2 ch., i 
dc. into the center of 5 ch., 11 ch., i dc. into the seventh, 12 ch., i dc. into 
second picot of next scallop before joining of the first rosette, 3 rh., i dc. into 



3/4 DAINTY WORK FOR PLEASURE AND PROFIT. 

fourth of 12 ch., 4 ch., i dc. into fifth of 12 ch., 4 ch., pass over i picot of 
same scallop, i dc. into next; break off the cotton and fasten neatly at the 
back of the work. 

2nd row, i dc. into center picot of the first of top scallops of first 
rosette (see design), 11 ch., i dc. into the seventh, 2 ch., i dc. into second 
picot of next scallop, 13 ch., i dc. into the ninth, 2 ch., i dc. into center of 
loop of 9 ch, (see design), * 12 ch., i dc. into the eighth, 2 ch., i dc. into 
third stitch past next picot, repeat from * once more, 12 ch., i dc. into the 
eighth, 2 ch., i dc. into the center picot of next scallop of following rosette; 
repeat from first * to the end of row. 

3d row, I dc. into fifth of 12 ch. of last row, 12 ch., i dc. into the eighth, 
2 ch. ; repeat from the beginning of the row. 

4th row, like 3d row. 

5th row, I dc. into fifth of 12 ch., 7 ch.; repeat from the beginning of 
the row. 

6th row, I tr. into each of 11 stitches, 4 ch., i dc. into the first; repeat 
from the beginning of the row. 

For the vandyke take a length of point braid, fold it as shown in the 
illustration, sew with a fine needle and cotton by the folded part to the 
stitches between two picots. 

7th row, work 5 sc, into the folded braid at the other side of vandyke, 
7 ch., I dc. into the fourth, 3 ch.; repeat from the beginning of the row. 

8th row, I tr. into each stitch of last row. 

INFANT'S KNITTED JACKET. 

Materials required: 2i4 ounces knitting silk, 2 knitting needles, 
double pointed (size 8), 2 yards satin ribbon. 

This jacket is a most useful little garment for infants to wear under 
cloaks, or even under robes in very cold weather. 

Commence at the bottom; cast on 94 stitches on one needle. 

1st row, k.; 2nd row, k. 2, p. 2 throughout the row. These 2 rows are 
each repeated 9 times more. 

2ist row, k. I, * silk forward, k. 2 together, repeat from * to end of 
row, knitting the last stitch. 



KNITTING AND CROCHETING. 



375 



22nd row, k.; 23d row, k. 14, k. i and p. i, in the next stitch, k. 24, 
k. I and p. i in the next stitch, repeat from the beginning of the row once 
more, end with k. 14. 

24th row, k.; 25th row, like 23d row, with the exception that you k. 15 
instead of 14, mentioned in 23d row. 

26th row, k., continue to increase with a plain row between, until you 
have increased 9 times in all; then increase only in the back, until you 
have increased at the back in all 13 times; now work 4 rows on all the 
stitches. Then for the right front, work on 35 stitches. 

ist to loth row, k.; nth row, 
leave 8 stitches on another pin, and 
for the shoulder on the remainder of 
the stitches, k. 2 together, k. to end 
of row in each alternate row for 5 
times; k. 10 rows without decrease, 
then cast off. 

Work the other shoulder in the 
same way as described for this. 
Take 13 stitches from each side of 
back stitches, work on the remaining 
42 stitches, 10 rows, then decrease 
at the beginning and end of each 
alternate row for 18 rows more, sew fig. 318. 

up the shoulders, pick up i stitch at the end of each ridge of both fronts, 
and knit across in a row with the 24 stitches of the back to form 
the neck. 

ist row, k.; 2nd row, silk forward, k. 2 together throughout; repeat 
the 1st row 3 times more, then cast off. For the sleeve commence at the 
wrist; cast on 27 stitches. 

1st row, k.; 2nd to 20th row, k. 2, p. 2 throughout. 

2ist row, k. I and p. i, in the first stitch, k. 25, k. i, and p. i in the 
last stitch. 

22nd to 26th row, k., repeat from the 21st row 5 times more, work 8 
more rows without increase, then cast off; sew up the sleeves, and sew into 
the arm-holes. Run ribbon into the holes at the neck and waist. 






376 DAINTY WORK FOR PLEASURE AND PROFIT. 

MOSS EDGING: CROCHET AND BRAID. 

For the edge, work as follows, using No. 80 linen thread: 
1st row, work i dc. into 2 picots together, 5 ch.; repeat; 2nd row, 2 
tr. into center of 5 ch., 4 ch., 2 tr. into same 
stitch last tr. was worked into; repeat from the 
beginning of the row. 
Pie ,jQ 3d row, I dc. between the little scallops, 

6 chain; repeat. See figure 319. 

FERN EDGING: CROCHET AND BRAID. 
For the edge, work as follows use linen thread No 70: 
1st row, I dc. into 2 picots together, 2 ch., 2 tr. separated by 4 ch.; into 
next picot, 2 ch.; repeat from the beginning of 

the row. y^ 

2nd row, 2 dc. under 2 ch., * i dc. under 4 
ch., 4 ch., I dc. into first, i dc. under same 4 ch. 
the last was worked under, repeat from * 3 times f^g. 320. 

more, 2 dc. under next 2 ch.; repeat from the beginning of the row. 
For the heading: i dc. into a picot, 2 ch.; repeat. 

FRENCH EDGING: CROCHET AND BRAID. 
For the edge, work as follows with linen thread No. 80: 

1st row, work 2 tr. separated by 3 ch. into 2 
^ picots of braid together; repeat from the begin- 
ning of the row. 

2nd row, i dc. between 2 tr., 5 ch.; repeat. 
^^^'- 321- Por the heading: 

I tr. into each of 3 picots of braid, 5 chain, pass over i picot and 
repeat. 

EDGING: CROCHET AND SERPENTINE BRAID. 
Into a length of serpentine braid work a row of cross tr., as follows: Work 
as for a double tr. into i point of braid, draw ^ 
through the first loop, work a tr. into next point 
of braid, work off all the loops, one at a time; 2. 
ch., I tr. into center of cross tr., 2 ch., repeat ^^^- 322. 

from the beginning of the row; 2nd row, i dc. under a ch., 3 ch., I dc, 
under next ch.; repeat; 3d row, i dc. under 3 ch., 2 ch.; repeat. 





KNITTING AND CROCHETING. 
EDGING: CROCHET AND FANCY BRAID. No. 1 



377 




This fancy braid has a long loop, with three small picots at the top. 
Work I dc. into the last picot of one cluster and 
first of next cluster together, under the center 
picot work 3 dc, 3 ch., i dc. into the first, 3 dc. 
under same 3 ch. the last dc. were worked under, 
repeat from the beginning of the row. ^^^- 323- 

For the heading: work 2 dc. into picot on the other side of braid 2 ch.; 
repeat. See figure 323, 

EDGING: CROCHET AND BRAID. No. 2. 

1st row, 3 tr. into i picot of fancy braid, i ch., pass over i picot and 
repeat. 

2nd row, i dc. under i ch., 5 ch.; repeat. 

For the heading: 

I dc. into a picot, 2 chain; repeat. See fig. 324 

FIG. 324. t" ' < f fc> J t 

SHELL TRIMMING: CROCHET. 

Make a chain of 32 stitches. 

1st row, I tr. into 26th, 2 ch., 2 tr. separated by 3 ch. into the 21st, * 2 
ch., pass over 4 stitches, 2 tr. separated by 3 ch., into the next, repeat from 
* 3 times more; turn. 





FIG. 325. 



2nG row, 3 ch., 7 tr. under each 3 ch. of last row, 5 tr. under ch. at the 
end of the row, 3 ch., i tr. under same ch.; turn. 



378 



DAINTY WORK FOR PLEASURE AND PROFIT. 



3d row, 5 ch., I tr. under 2 ch., i ch., 2 tr. separated by 3 ch. into center 
of 5 tr., * 2 ch., 2 tr. separated by 5 ch. into center of 7 ch., repeat from * 4 
times more; turn. 

4th row, like 2nd row, except that there will be i more cluster of 7 tr. 

5th row, like 3d row, repeating from * 5 instead of 4 times; 6th row, 
like 2nd row, with 2 more clusters of 7 tr. 

8th row, like 3d row, repeating from * only 3 times; repeat from the 
2nd row for the length required. See figure 325. 

PALM TRIMMING: CROCHET. 




Commence with the oval in the center of pattern, make a ch. of 14 
stitches. 

ist row, work down the chain with i half tr. into the last stitch but one, 
I tr. into each of 11 next stitches, i half tr. into the next. 

2nd row, i dc. into 
stitch last half tr. was 
worked into, i dc. into 
the next and each of 
12 following stitches, 
2 dc. into each stitch at 
FIG. 326. end of oval, i into each 

stitch at the other side, i sc. into the end. 

3d row, I dc. into first stitch at side, * 10 ch., i sc. into the 5th, 4 ch., 
pass over 2 stitches, repeat from * 10 times more; work i sc. into the first 
stitch of row. 

4th row, 7 ch., 6 half tr. under each loop of ch. of last row, 5 ch., i sc. 
into the second and each of 5 next stitches of 7 ch., * i dc. into first half tr., 
4 ch,, I dc. into the last of 6 half tr., repeat from * 10 times more. 

Work as many patterns as are needed for the length of trimming. 
Then to work the edging row and to join patterns, work i dc, 6 half tr., 
and I dc. under each loop of 4 ch., 12 ch.; repeat from beginning of the row. 
When working the next and following patterns, draw through the center of 
3 first scallops of previous patterns, when working corresponding scallops. 
See figure 326. 



KNITTING AND CROCHETING. 



379 



KNITTED HOOD FOR CHILD FROM ONE TO TWp YEARS OLD. 

This little hood is knitted with white Saxony wool, and trimmed with 
inch-wide white satin ribbons. 

Figure 328 half of crown and 329 half of front. 

Prepare a stiff paper pattern, according to figures 328, same size as 
shown, and 329^63^x7 inches in size — cutting each piece on the double. 
Begin at the lower edge of- figure 329, using coarse needles. Cast on the 
required number of stitches (44 in the model), and knit to and fro as follows: 

1st row, * k. I ; out of the next stitch work 3, namely, i k., i p. and i k.; 
repeat from *. 

2nd row, knit plain throughout. 

3d row, right side of the work; alternately 
knit I, and knit 3 together crossed (for crossed, 
insert the needle at the back and downward 
instead of from the front and upv/ard). 

4th row, purl throughout. 

5th to 7th rows, knit so that all stitches ap- 
pear purled on the right side. 

8th row, purl throughout. 

Continue to repeat the ist to 8th rows, 
widening or narrowing as the pattern requires. 

Begin the crown at the lower edge of figure 
328 with the requisite number of stitches (32 in 
the model), and knit in the same pattern as the 
front. 

For the cape begin at the top, casting on 50 
stitches, and knit .to and fro, first 9 rows of plain 
knitting, then 3 rows in which all stitches appear purled on the right side, 
then 14 rows of plain knitting, after which cast off. Turn down the last 13 
rows on the wrong side, and catch the cast-off stitches to the foundation 
stitches. 

Edge the front and bottom of the cape with a crochet edging of 5 rows 
as follows: 

1st row, by turns, 2 dc. separated by i ch. on the following edge stitch, 
I ch., pass 2; widen at the corners as required. 




FIG. 327. 



380 



DAINTY WORK FOR PLEASURE AND PROFIT. 




2nd row, 2 dc. separated by i ch. around every chain separating a pair 
of dc. in the last row, and i ch. between. 

3d row, 3 dc. around the ch. separating a pair of dc; i ch. between. 

4th row, 3 dc. on the middle one of the 
next 3 dc. in the last row, i ch., i sc. around 
the following ch., i ch.; repeat. 
5th row, I sc. on every stitch. 
For the frill at the front edge make 
a chain 32 inches long, turn, and for the 1st 
row pass 5, i dc. on the next, then by turns 
I ch. and i dc. on the following second 
stitch. All the other rows are begun at the 
same end and fastened off at the other. 

2nd row, on the middle 26 inches of the 
32, work like the first row of the edging. 
3d row, like the second row of the edg- 
ing, but make it 3 patterns longer at each 
end than the last. 

The other rows are worked full length; 
the 4th to 6th are like the preceding row, 
and the 7th to 9th like the 3d to 5th of the 
edging. 

On the other side of the foundation 
chain on the middle 16 inches work two 
rows like the ist and 2nd of the edging, 
then work at full length two rows like the 
last two of the edging. 

Turn down the front on the wrong side 

along the dotted line, join it to the crown, 

then join the cape to both. 

kig7328^ Knit a lining in plain knitting according 

to figures 328 and 329, but work the front only from the front edge to the 

plain line. Set in the lining, then crochet two rows of dc. around it, and 

on these at the front edge set the frill, as illustrated, box-pleated at the top. 

Trim the hood with narrow ribbons as illustrated. 



KNITTING AND CROCHETING. 



381 



CROCHETED HOOD FOR CHILD FROM 2 TO 3 YEARS OLD. 

This hood is crocheted with white zephyr wool. It is worked in three 

pieces — the side of the crown, the back, and the frill which surrounds the 

edge. 

For the side prepare a stiff 

paper pattern from figure 331, di- 
mension 9/4^x5^ inches at the wid- 
est point and 9^x4^^ inches at the 

narrowest point. The illustration 

shows shape. Cut it on the double. 

Begin at the lower edge with a chain 

of the length required, and crochet 

back and forth as follows: 

1st row, 3 ch., take a loop each 

through the second and first of these 

3 ch., take a loop each through the 

next 2 ch. stitches of the foundation, fig. 329. 

pull a loop through all the loops now on the needle, work off this loop by 

pulling another through it, * with a loop on 
the needle, take up 4 loops, the first through 
the mesh above the group of loops pre- 
viously worked off, the second through the 
back mesh of the last of the 4 preceding 
loops taken up, and the third and fourth 
through the next 2 ch. of the foundation, 
pull a loop through all the loops now on the 
needle, work off this loop; repeat from *. 

2nd row, i ch. to begin, then by turns i 
sc. on the next worked-off loop, and i si. st. 
into the back mesh of the following stitch. 
Continue to repeat these two rows in 
turn, widening or narrowing as the pattern 
requires. 

For the back of the crown make a chain 

of 28 stitches, which forms one side edge, and work back and forth in the 

same stitch as the side, 4 patterns deep. 




FIG. 330. 



382 DAINTY WORK FOR PLEASURE AND PROFIT. 

For the frill around the edge make a foundation of 14 ch., and work in 
the same stitch as the rest, making a strip three yards long, which edge 
along the outer side with a row of scallops, as follows: * i sc. on the next 
sLitch on the edge, i ch., on the next second stitch work 4 dc. with a picot 
between every two of them (for a picot 3 ch. and i sc. around the upper 
perpendicular meshes of the preceding dc); repeat from *. Underlay 
the back of the crown with foundation muslin, and join the side and back; 
fulling the side from the middle to *. 

Work a lining for the hood, which consists of a band and a loose crown 
piece; for the band make a chain of 70 stitches, and work 5 rows in tricot 

or afghan stitch, which is the well-known stitch 
in which loops are taken up going forward and 
worked off coming back, the two forming one row 
of the stitch. After the last of the 5 rows work 
a row of si. st., one into every perpendicular 
mesh of the last row, and on the foundation chain 
work chain scallops, 2 sc. on the next 2 stitches, 
6 ch. 

For the crown piece of the lining make a 
chain of 36 stitches, and work 18 rows in tricot 
stitch, but with a slight variation in the stitch; 
when taking up the loops going forward take 
them through the horizontal meshes at the back of 



FIG. 331. the chain stitches of the preceding row instead of 

the perpendicular meshes on the surface. 

Join the crown piece to the band of the lining, gathering the crown at 
the middle as needful, then set in the lining. Set the box-pleated frill 
around the outer edge, as illustrated. Cover a piece of ribbon wire with 
white silk flannel binding, and set it around the inner edge of the hood; at 
the front run it into the chain scallops at the front edge of the lining, and 
at the back let it cover the edge of the lining. 

Trim the hood as illustrated, with twisted bands and bows of white 
watered ribbon an inch wide. The two hoods described on pages 379 to 381 
may be made of knitting silk instead of wool in which case the linings 
should be knitted in a light weight Saxony yarn. 



KNITTING AND CROCHETING. 



383 



SQUARE FOR PILLOW SHAM OR BEDSPREAD. 

This bedspread is made in squares, joined to each other, having four 
leaves and four rosettes. See figure 332. 

The squares are joined to the picots by means of a slip stitch. 

For each one of the leaves make a chain of 20. Going back on them, 
work as follows: 

Miss I ch. St., 18 sc. in the next 18 ch. on one side of the chain, 3 sc. in the 
first ch., then 16 sc. in the 16 remaining chain loops on the other edge of 
the chain, * i ch.; turn the work. Going back on the preceding stitches, 
make 17 sc. in the back loops of the next 17 stitches. All sc. will be made 
in passing the hook in the back loops of the stitch. Make 3 sc. in the 
middle one of the last 3 sc. coming together; 16 sc. in the next 16 stitches; 
repeat 6 times from *, and then repeat once 
more until the 3 sc, worked in one loop, 
have been reached. 

Fasten the thread and break it. 

The remaining three leaves are made 
in the same manner. At the end of the 
fourth leaf, in order to fasten the leaves 
together, make i ch., i cl. ch. in the stitch 
of the next leaf; repeat this four times. 

Each rosette is worked as follows: 
make i chain of 4; join with i cl. ch. 

1st round, 2 sc. in every ch.; 2nd round, 2 sc. around every sc. of the 
last round. 

3d round, 8 ch., the first 3 will serve as the first dc; alternate 7 times, 
I dc. around the second stitch of the last round, 5 ch.; finally i cl. ch, in 
the third of the first 3 ch. of this round. 

4th round, * 3 ch., i dc. in the middle one of the next 5 ch. of the last 
round, i cluster of 3 picots. (The picot is made in 5 ch., i sc. in the last 
worked dc.) 

Make 3 ch., i sc. around the next dc; repeat 7 times from *. Fasten 
the thread and break it. 

Then work around the edge of the four leaves: * i sc. in the thirteenth 
sc, counting from the middle end of the leaf ; f i ch., i picot (making 5 ch., 




FIG. 33: 



384 DAINTY WORK FOR PLEASURE AND PROFIT. 

and I sc. in the first of them; i ch., i sc. in the next point of the leaf; repeat 
four times from f, but when coming to the middle stitch of the third picot, 
join to the middle stitch of the next picot of the rosette. 

Work next i ch., i picot, i ch., i sc. in the same point in which the pre- 
ceding sc. has been worked. 

f I ch., I picot, I ch., I sc. in the next point; repeat 3 times from f, join- 
ing the ninth picot to the next picot of the next rosette. 

Make I ch., I picot, I ch., I sc. in the following fourth stitch; 2 ch., i picot, 
joining it to the following picot of the same rosette; repeat 3 times from *, 
joining at every repetition the third picot to the next picot of the same 
rosette which has been joined last; and at the last repetition, join the ninth 
picot to the last picot of the rosette which has been joined first. 

In this way one square is already made. Each next square is made in 
the same manner, joining the picot of the square to the corresponding picot 
of the rosette, as is shown in figure 332. 

Then a picot pattern is also worked in the center of the four rosettes, 
coming together, as follows: 

Starting from the middle stitch of the picot of a rosette, make f 2 ch., 
I picot, 2 ch.; join to the picot of the next rosette (see figure 332); repeat 
three times from f. At the last repetition, make i cl. ch. in the stitch from 
where one started first, instead of making a slip stitch. 

The picot on the point of the leaves has to be joined by another picot 
to the corresponding picot on the point of the leaf belonging to the 
other square. To do this, start from the middle stitch of the first picot 
mentioned, make 2 ch., then join by i si. st., 2 ch. and i cl. ch. in the stitch 
from where one started. Then work from the next point of the leaf, i ch., 
3 picot, I ch.; join to the cluster picot of the rosette; 2 ch., i picot, 2 ch.; 
join to the opposite cluster picot of a rosette; i ch., 3 picot, i ch.; join to 
the corresponding picot of the leaf belonging to the opposite square; 2 ch., 
I picot, 2 ch., I cl. ch. in the stitch from where one started. 

This pattern is very effective carried out in dainty colored Scotch linen 
crochet thread No. 70, or in knitting silk, while if cheaper materials are 
required, fine macrame cord will give very pretty effects. 

If a bedspread and sham of this pattern be considered too much work 
it can be utilized for making toilet sets. 



KNITTING AND CROCHETING. 
TABLE MATS. 



385 



The set consists of six mats— three sizes of two each — and look best 
when crocheted with No. 9 macrame twine. The directions given are for 
the smallest size. 

For the next size commence with 20, and the largest with 24 stitches. 

1st row, make a chain of 16 stitches; miss the i6th ch. stitch; work i 
sc. in next 14 ch. stitch; 2 sc. in next 15th; i sc. in following 14 stitches on 
the other side of the ch.; fasten in first sc. of this row. 

2nd row, turn; i ch. stitch, i sc. in last sc. of last row, passing the hook 
in the back loop of the stitch; 2 sc. in next; i sc. in following 12 sc; 2 sc. 
in 13th.; I sc. in next sc; 2 
sc in the following one; i sc. 
in next sc; 2 sc in following 
sc; I sc. in next 12 sc; 2 sc. 
in 13th; I sc. in 14th; fasten 
in first sc. of this row. 

3d row, turn; i ch. stitch; 

1 sc. in next 2 sc; 2 sc in 
third; i sc. in following 13 
sc; 2 sc. in 14th; i sc. in next 

2 sc; 2 sc. in third; i sc in ^^'^- 333- 

next 2; 2 sc in third; i sc. in next 13; 2 sc. in 14th; i sc in next 2; fasten 
in first sc. of this row. 

4th row, turn; i ch. stitch; i sc. in next 3 sc; 2 sc. in fourth; i sc in next 
14; 2 sc. in 15th; I sc in next 3; 2 sc. in fourth; i sc. in next 3; 2 sc. in 
fourth; i sc in next 14; 2 sc. in 15th; i sc. in next 3 sc. Fasten as before. 

Continue working the following rows in the same manner, always wid- 
ening with 2 sc. in one of the sc. belonging to the last widening. 

BORDER TO MAT. 

1st round, make 2 ch. stitch, which will serve as i dc; i dc in next 
stitch. Alternate to the end of round; 2 ch. stitch; 2 dc. in third and fourth 
stitch of the edge of the mat. 

2nd round, work 6 dc. around the chain of 2 of last round, fastening 
every time in the middle of the 2 dc. of last round. 




386 DAINTY WORK FOR PLEASURE AiND PROFIT. 

CROCHETED DOLL. 

Materials: double zephyr; bone hook, as small as can be conveniently 
used. 

Commence at the waist with thirty-six chain stitches; dc. the ist row; 
turn and work three more rows. 

5th row, dc. 10 stitches, increase in the nth stitch, dc. 16, increase, dc. 
10; 6th row, work without increasing. 

7th row, similar to 5th, except that you knit ii instead ol 10. Con- 
tinue thus until you have 46 stitches, 5 widenings under each arm. [You 
will see after knitting that two rows form a sort of stripe. See that these 
are uniform. A row across and back make this stripe, as the stitches are 
taken through the two loops of the chain, not the single one, as in ordinary 
crochet.] 

Divide in three parts for the back and two fronts, 12 stitches on each 
front and 16 across the back; 3 are left under each arm. For the back, 
work four rows without increase. 

5th row, add one at each end of the row; 6th row, without increase. 

7th row, as the 5th; 8th row, without increase. 

9th row, increase as the 5th, making 22 stitches; lOth row, without increase. 

For the front work four rows on the twelve stitches. 

5th row, add one stitch at the arm, keeping the front edge straight. 

6th row, without increase. 

7th row, add i, making it 14; 8th row, without increase. 

9th row, add i; loth row, without increase. 

Commence at the front and work across both fronts and the back, join- 
ing them at the shoulder. Crochet back; narrow at 2ach shoulder at the 
14th stitch (counting from the front edge) every other row until you have 
27 stitches. 

For the collar crochet a row across and back, leaving two stitches each 
side of the front. 

P'or the skirt commence at the waist, work a row across the whole waist 
then back to the center of the back; work back again 12 stitches; next row 
knit 11; each row one less until you have 6 (observe that this narrowing is 
at one side — the center is kept straight). Work the other side of the skirt 
similarly. 



KNITTING AND CROCHETING. 387 

For the sleeve commence at the wrist with 12 stitches— four rows with- 
out increase. Add i stitch at each end of every other row until you have 
24 stitches and 16 rows, not stripes. [A stripe is two rows.] Work 6 rows, 
leaving off 2 stitches at each end; this adds 3 stripes to the 16 for the long- 
est part of the sleeve. Crochet the sides together on the wrong side and 
sew in the arm-hole. Crochet a row around the wrist with black, with pale 
pink or flesh-colored single zephyr. Work the hand in the form of a small 
mitten; work two or three rows; divide in half and narrow it off in two 
places every row. Close at the end, join together as in a mitten. 

The jacket is worked in red. Now, with black, work a row all around 
the collar fronts and skirt. It is best to cut a doll down to fit; slip the 
jacket on, crochet together down the front; sew three small gilt buttons on 
each side, two at the back and one on each sleeve. 

For the pantaloons make 36 stitches for the waist; work back and forth 
as in the jacket. 

1st row, widen one stitch at each hip and in the center of the back; 
2nd row, without increase. 

3d row, similar to ist; 4th row, like 2nd. 

5th row, increase two stitches in the center of the back only; 6th row, 
without increase. 

7th row, like the 5th. Continue thus until you have 50 stitches. Make 
14 rows. Break the wool and tie it at the hip; work 20 stitches; work back 
18, leaving one off at each end. Next row, 16 and back 14. Tie the wool 
in front, work a row across all around, taking in the slope formed by the 
added rows; work back. 

For the leg, divide in the center of the seat, 25 stitches on each leg. 
Work three rows; narrow at each end of the 4t"h row; work 3, narrow; thus 
until you have 20 stitches. The leg is 24 rows or 12 stripes long. Crochet 
together on the wrong side, turn them on the right side; with black double 
zephyr crochet a row around. Thus with red single zephyr you make the 
stockings; you can stripe them, if preferable. Make 10 rows; reduce from 
20 to 18. 

For the boot take black double zephyr. Work two rows without in- 
crease; in the 3d row you widen two stitches each side of one center stitch. 
You proceed thus until you make the foot as long as you require, say eight 



388 DAINTY WORK FOR PLEASURE AND PROFIT. 

rows; then work one row without increase. Join the two sides together; 
work a row of black above the red stocking. 

It is better to use a doll's body instead of stufifiing the crocheted form, 
as it prevents stretching and is much more durable. A rubber or china head 
can be used, as preferred. 



KNITTED TORCHON LACE. 

Cast on i8 stitches. Knit back plain. 

1st row, si. I, k. 2, over twice, p. 2 together, k. 5, narrow, over, k. 3, 
over, k, 3. 

The 2nd and alternate rows are alike: i. e. knit plain until there are 
only 5 stitches on the left needle; then over twice, p. 2 together, k. 3. 

3d row, si. I, k. 2, over twice, p. 2 together, k. 4, narrow, over, k. 5, 
over, k. 3. 

5th row, si. 1, k. 2, over twice, p. 2 together, k. 3, narrow, over, k. i, 
narrow, over, k. i, over, narrow, k. i, over, k. 3. 

7th row, si. I, k. 2, over twice, p. 2 together, k. 2, narrow, over, k. 1, 
narrow, over, k. 3, over, narrow, k. I, over, k. 3. 

9th row, si. I, k. 2, over twice, p. 2 together, k. i, narrow, over, narrow, 
k. I, over, k. 5, over, narrow, k. I, ever, k. 3. 

nth row, si. I, k. 2, over twice, p. 2 together, k. 2, over, narrow, k. i, 
over, narrow twice, over, k. I, narrow, over, k. I, narrow, over, k. 3. 

13th row, si. I, k. 2, over twice, p. 2 together, k. 3, over, narrow, k. i 
over, narrow, k. i, narrow, over, k. I, narrow, over, narrow, k. 2. 

15th row, si. I, k. 2, over twice, p. 2 together, k. 4, over, narrow, k. i, 
over, si. I, narrow, slip the slipped stitch over the one last knitted; then 
over, k. i, narrow, over, narrow, k. 2. 

17th row, si. I, k. 2, over twice, p. 2 together, k. 5, over, narrow, k. 3, 
narrow, over, narrow, k. 2. 

19th row, si. I, k. 2, over twice, p. 2 together, k. 6, over, narrow, k. i, 
narrow, over, narrow, k. 2. 

2ist row, si. I, k. 2, over twice, p. 2 together, k. 7, over, si. i, narrow, 
draw the slipped stitch over the one last knitted; then, over, narrow, k. 2. 

Repeat from first row. 



KNITTING AND CROCHETING. 389 

SMALL COMFORT FOR LOUNGE. 

Take knitting needles No. 5 and double zephyr wool, in any pretty 
contrasting colors. The comfort is knitted in stripes which are crocheted 
or sewn together. 

Cast on eleven stitches for each stripe. 

1st row, k. 3, make one, p. 2 together, k. i, p. 2 together, wool forward, 
k. 3. The 2nd and other intermediate rows are all purled. 

3d row, k. 4, make i, p. 3 together, wool forward, k. 4. 

5th row, k. 3, p. 2 together, wool forward, k. i, make i, p. 2 together, 
k. 3. The 7th, 9th and nth rows are like the 5th. 

13th row, k. 3, make i, p. 2 together, k. I, p. 2 together, wool for- 
ward, k. 3. 

15th row, like the 13th. Repeat from the ist row. 

PORCUPINE STITCH. 

Cast on in twelves. 1st row, plain. 
2nd row, * over, k. 2 together, repeat from *. 
3d row, purl; 4th row, plain; 5th row, purl. 

6th row, si. I, k. 2 together, pass the slipped stitch over, k. 4, over, k. I, 
over, k. 4; repeat. 

7th row, p. 3 together, p. 4, over, p. i, over, p. 4; repeat. 
8th row, like 7th; 9th row, like 6th; loth row, like 7th. 
Repeat from second row. Very pretty. 

DIRECTIONS FOR MAKING WHEEL. 

Make a ch. of 12 stitches, join with si. stitch, 3 ch., 47 dc. into ring, 
join in top of three ch. with si. stitch and break off thread. 

For the squares, make 9 ch., i sc. into any stitch of the circle, holding 
the wrong side of the wheel towards you, * turn and work back and forth 
upon the 9 ch., making 8 rows of sc, always taking up the back thread of 
stitch, to make the ridge, i ch. at the end of every row. When the 8 rows 
are finished, make 9 ch., i sc, into the eighth stitch of the circle from that 
last worked into. Repeat from * until there are six squares, join the cor- 
ner of the last square to the corner of the first with si. stitch, and break off 
the thread. 



390 DAINTY WORK FOR PLEASURE AND PROFIT. 

1st round, (l sc. into the point of a square, 9 ch,, I tr. between the 
squares, 9 ch.) 6 times; si. stitch into first sc. of round. There should be 
12 loops of 9 ch., making 108 ch. in all. 

2nd round, i sc. into every stitch of last round, join with si. stitch; turn. 




FIG. 334. 

3d round, i sc. into every stitch of last round, taking up back part of 
stitch, join with si. stitch; turn; 

4th round, lilce 3d, but do not turn the work when the round is finished. 



KNITTING AND CROCHETING. 391 

5th round, 4 ch., * skip one stitch, i dc. into next stitch, i ch. and repeat 
* all around last row, join with si. stitch in third stitch of 4 ch. at the begin- 
ning, making 54 spaces around. 

6th round, 3 ch., i dc, 2 ch., 2 dc, into first space, * ch. of 5, skip 2 
spaces, 2 dc, 2 ch., 2 dc. in third space and repeat from * all around, join 
with si. stitch in top of 3 ch. at the beginning. 

7th round, 3 ch., i dc, 2 ch., 2 dc. in middle of shell made in row pre- 
vious, * 3 ch., catch with sc in middle of 5 ch., 2 dc, 2 ch., 2 dc. in middle of 
next shell and repeat from *; when finished there should be 18 shells around. 

8th round, like 7th row. When done fasten and break off the thread. 

CROCHET: PETTICOAT FOR CHILD FROM 1 TO 2 YEARS OLD. 

Materials: y^ pound German yarn, a medium size bone crochet hook 
and one yard of ribbon. 

Commence at the waist, make a chain 25 inches in length, work in shell 
pattern. 

Shell pattern is worked as follows: Draw up a loop through each of 
5 successive stitches, draw through all the loops on the hook, close the 
cluster with one chain, * draw up a loop through last chain, another through 
back perpendicular loop of last stitch, and one through each of the two 
next stitches of chain, draw through all the loops on the hook together, 
close with one chain, repeat from * to the end of row. 

The wool is broken off at end of each row, and every row is commenced 
from the same side. Work 5 inches without increase or decrease, that is 
until you reach the under part of arm-hole. 

For the left half of back, work on one-quarter of the stitches for 3 
inches, then decrease for the shoulder, by working all but the last shell at 
the end of each row for i^ inch more. Work across the front for 3 inches, 
then decrease at the beginning and end of each row for i^ inch more. 
The right front is worked like the left, but the decrease is made at the 
beginning of the row instead of the end. 

For the sleeves, make a chain 8 inches in length, work in shell pattern 
for 8 inches, shape the top of the arm by leaving one shell pattern on each 
side unworked for three rows. Sew the sleeve together on the wrong side, 
sew up the shoulders, and sew in the sleeves. 



392 



DAINTY WORK FOR PLEASURE AND PROFIT. 



For the skirt: ist row, into the edge of bodice work 2 tr., separated 
by 2 ch., into every other stitch. 

2nd row, 2 tr. separated by 2 ch. under 2 ch.; 3d and following rows, 

2 tr., 2 ch., and 2 tr. under 

2 ch., I ch.; repeat from 
the beginning of the row. 

When the skirt is the 
length required, for the 
edge, into the last row, 
work I dc. into a stitch *, 

3 ch., I dc. into next stitch, 

4 ch., I dc. into next stitch, 
3 ch., I dc. into next 
stitch, repeat from * to 
end of row. A row of 
scallops is worked round 
the neck and wrist. Sars- 
net ribbon, about i inch 
wide, is run through the 
work at the neck and 
waist. Sew two buttons 
to the left side of back, 

PjQ -^, and in the same place 

on the right side, press the stitches apart and work two buttonholes. 




CROCHET: BORDER AND CORNERS FOR TABLE COVERS, &c. 

Materials: Scotch crochet linen No. 70 and medium-sized crochet hook. 

This border is suitable to edge table covers, toilet cloths, etc. The 
rosettes are joined when working the last row of each. 

Commence in the center of a rosette with 4 ch., join round. 

1st round, 6 ch., /-tr., each separated by 2 ch. under 4 ch., 2 ch., draw 
through the fourth of 6 ch. 

2nd round, 2 dc. under 2 ch., 4 ch., draw through the top of last dc, 2 
dc. under same 2 ch. the last were worked under, i dc. into top of tr.; repeat 
from the beginning of the round 7 times more. 



KNITTING AND CROCHETING. 



393 



3d round, 9 ch. *, i tr, between 2 picots, 5 ch., repeat from * 6 times 
more, join to fourth of 9 ch. with i sc. 

4th round, 10 dc. under each 5 ch. of last round. 

In working the next and following rosettes work i half tr. 'into 2 scal- 
lops of previous rosette when working last round (see figure 336). The 




FIG. 336. 

method of joining the rosettes to form the corners will be clearly seen from 
the illustration. 

For the heading, work i tr. into center of the first scallop at the top of 
rosette, 4 ch., i tr. between 2 scallops, 6 ch., i double tr. between 2 next 
scallops, 12 ch., I sc. into each of 2 next stitches of scallop, 5 ch., i sc. into 
seventh of 12 ch., 5 ch., i sc. into each of 2 stitches between 2 scallops of 



394 



DAINTY WORK FOR PLEASURE AND PROFIT. 



next rosette in the corner, 4 ch., i so., into first of 5 ch., 5 ch., i so. into 
each of 2 stitches in depth between 2 scallops of next rosette (see figure 
336), 5 ch., I sc. into seventh of 12 ch. and each of 2 following stitches, 4 
ch. *, 3 tr. separated by 5 ch. into next rosette (see design), 5 ch., i quad- 
ruple tr. into depth between 2 scallops, work off 2 loops, i double tr. into 
next stitch but i, work off 3 loops, work 2 double tr. into corresponding 
place of next rosette, work off all the loops, 6 ch., repeat from last * until 
you reach the next corner, which must be worked as directed for first 
corner. 

2nd row, i tr. into a stitch, i ch., repeat. 



CROCHETED SKIRT. 

The design shown here is one of the prettiest, as well as the best fitting 
we have seen. As it is fitted to the figure there is no extra fullness about 
the hips and waist, and it is light and warm. 

Materials: Germantown wool — 4 
skeins of blue and 4 of drab; coarse 
tricot needle. 

Yoke — Make a chain of 55 stitches; 
* with the blue and work 3 rows in 
afghan-stitch. Next work one row 
with drab to the eighth stitch from the 
end of the row, which forms the top 
of skirt, then one row to the 19th stitch 
from the top in drab. Repeat from * 
until there are 33 stripes of drab. Fin- 
ish with 3 rows of blue. 

Flounce — Make a chain of 75 
stitches; * with drab wool; work 8 rows; 
then work 2 with blue, 2 drab, 2 blue 
and 2 drab. Next work 8 rows with 
fh;. y^-]. blue, 2 drab, 2 blue, 2 drab and 2 blue. 

Repeat from * until you have 6 broad stripes of drab and 6 of the blue, and 
then join together. In making the flounce, the following directions must 
be exactly followed: (See page 382 for afghan stitch.) 




KNITTING AND CROCHETING. 395 

1st row, plain tricot; after that make i chain at beginning of each row 
to form an extra stitch, and leave off a stitch at end of each row, keeping 
the same number of stitches all the time, but giving the flounce a bias 
appearance. Fasten yoke to flounce with chain of 5 stitches, caught first 
in the flounce and then to the yoke. 

Through the openings made by these chains of 5, a blue ribbon No. 7, 
may be run and tied in a bow. 

At the waist finish off the skirt with one row in dc, putting i ch. 
between. Through this a cord and tassel may be run. The opening at 
back of yoke may be finished with a scallop. 

Border of Flou7ice — i row in drab shells of 5 stitches, 2 rows of blue, 2 
of brown and 3 of blue; the last blue row having 6 stitches in each shell. 

INFANT'S BOOT: KNITTING. 

Materials: Three balls knitting silk and three skeins wash twist 
embroidery silk, four steel knitting needles No 18, and a yard of narrow 
ribbon. 

Commence at the top of leg, cast on 40 stitches on 3 needles, that is 
14 on each of 2 needles, and 12 on the third. 

1st and 2nd rounds, k.; 3d round, bring the wool forward, k. i in the 
front, I at the back, and again i in the front of next stitch, making 3 stitches 
in I, put the 3 stitches back on the left-hand pin, knit them, put them a 
second time back, and knit them, bring the wool forward, k. 3; repeat from 
the beginning of the round. 

4th round, k.; 5th round, cast off 4, k. 3; you will have 4 stitches on 
right-hand needle; repeat from the beginning of the round. 

6th round, k.; 7th round, k. 2 before beginning the raised pattern as 
described in 3d round, this makes the patterns lie between those of 3d 
round; end the round with wool forward, k. i. Continue to work as 
described, until you have 9 raised patterns in a diagonal line. 

For the next round, k. 5, make i by bringing the wool forward, repeat, 
this increases the number of stitches to 46 in the round. 

For the ankle, k. 22 rounds plain. For the heel, ist row, k. 28; turn. 

2nd row, k. i, p. 26, k. i. Repeat these 2 rows until you have worked 
18 rows. 



396 



DAINTY WORK FOR PLEASURE AND PROFIT. 



19th tp 22nd rows k.; this forms 2 purl ridges; 23d row, k. 19; turn. 
24th row, k. 10, this leaves 9 stitches each side of heel; 25th row, k. 9, 

k. the next stitch, and i of the side 
stitches together, repeat this last 
row until all the side stitches are 
worked in, leaving 10 stitches only 
on the heel needle. 

Now pick up 13 stitches down 

each side of heel, k. for 24 rounds. 

25th round, k. the stitches for 

top of foot, k. 5 of the sole-stitches, 

k, 2 together, k. 22, k. 2 together, k. 

5, k. 3 rounds without decrease. 

In the next round decrease 
again at the same places, but there 
will be only 20 stitches between the 
two decreases this time; continue to 
decrease 4 times more with 3 plain 
rows between each decreasing row; 
then at the top k. i, p. i across (for 
the remainder of the boot) reversing 
the stitches in each alternate round, 
but continuing the decreasings at 
sole for another 4 times, making in 
all 10 decreasings on each side. 

Turn the boot inside out, put 2 
stitches from each side of sole 
stitches to the top stitches, k. to- 
gether, I stitch from the top, and i 
stitch from the bottom, then 2 from 
the top, and i from the sole (cast- 
P,(, .^g ing off each time) across the whole 

stitches, until there are left but i top and i bottom, k. these 2 together, 
and cast them off. 

For the crochet trimming round the top work with wool:— 




KNITTING AND CROCHETING. 



397 



1st round, i double into a stitch, i ch., pass over i stitch, 3 tr. each 
separated by i ch. into next stitch, i ch., pass over i stitch and repeat all 
round. 

2nd round, with silk, i double into each stitch. For the line below the 
scallops, with silk, work i double into each stitch. 

For the rosette, with silk, make a chain of 14 stitches, turn, work i 
double, 3 tr., and i double into each of 3 stitches, i double, 4 tr., and i 
double into each of 4 stitches, i double, 5 tr., and i double into each of 5 
stitches. Roll the work round, with the smallest scallops in the center, 
sew securely at the back of work, and sew to the toe of boot. The ribbon 
round the ankle is sewn to the boot at the back, and is tied in front. 



CROCHET MOP FOR DUSTING PICTURES. 

The above mop may also be used for washing pictures, and is com- 
posed of a wooden or cane stick one and a half inches thick, and any length 
desired, covered with a strip of crochet. One hole is 
made at lower end of this stick, through which is run a 
red ribbon and tied in a bow; and two more holes, one 
and five-eighths inches apart, for fastening on the mop 
itself, at the upper end. The crochet is made of knit- 
ting cotton, No. I, in red and white. The crochet for 
the stick is begun with 4 ch. closed to a ring, into which 
are worked 2 si. st., 3 sc. and 5 dc, the crochet is then 
continued in this manner the desired length (three 
rows of white come alternately with one of red); the 
work is then drawn over the stick and again closed 
with I sc. The single strips, for the mop part, which 
are four and three-quarters inches long, are each 
worked in two rows, on each side of a foundation of 
18 or 20 ch. In the second row, however, each sc. is 
worked over the foundation chain and the front link of 
the sc. lying underneath; in this way the strip becomes 
a little rounded and firmer. Twenty red and the same 
number of white strips must be made and then strung fig. 339, 

in pairs of each color on a piece of thick cord, put through the two holes 




398 



DAINTY WORK FOR PLEASURE AND PROFIT. 



already mentioned, and twisted around the stick, the ends being fastened at 
these holes. 

CROCHETED NOVELTIES. 
Many pretty little articles are made by crocheting forms, and then 
stiffening them with glue or gum arable. Bottle covers, slippers for 
watch cases, scarf bags, and boxes are made in this manner. Very pretty 
covers for square bottles may be made from almost any design given in 
this chapter. A piece, large enough to go around the bottle, is made from 
fine linen crochet thread. Stretch it on a board, and paste with gum arable. 
When dry, paint with gold powder, wet in a medium. The edge's should now 
be joined together, and a piece of silk gathered into the bottom, when 
the cover is ready for the bottle. Small baskets are made in the same 
manner. Very pretty effects are obtained by crocheting a pattern of an 
open design, and lining with bright-colored silks. 




CHAPTER XVII. 



DAINTY WORK FOR PROFIT. 

AVING discussed "Dainty Work for Pleasure" or amateur 
home adornment, we will now deal with it from a prac- 
tical standpoint, or as a means of producing dollars and 
cents. "Dainty Work for Profit" is a subject that will 
appeal to the great army of women in our country w^ho 
feel the need of adding their mite to the family excheq- 
uer, either as wife, mother, daughter, or sister. These 
women may be divided into two classes. First: those 
who have only a limited portion of time to devote to any 
work outside the regular home duties, and who could not 
be absent from home for any regularly stated time. 
Second: those women who have to assume the support 
of families or portion of families, and whose time must 
be given to that work, leaving home cares and duties to others. For both 
these classes there is a note of hope and good cheer in the words "Dainty 
Work for Profit." By this it must not be assumed that all women are fitted 
to become dealers or teachers of art work, either in painting or embroidery. 
There are some women totally unfitted by previous occupation, as well as 
inclination and natural taste or aptitude for this kind of work, and it is 
manifest that such would not make a success; but these cases mark the excep- 
tion to the rule, and need hardly be considered, as they would be far from 
likely to adopt decorative art work as a means of livelihood. 
We will discuss first "Dainty Work for Profit" for the 

Stay-at- Homes. 
There are hundreds of homes of wealth in the country that have not 
within them the means of artistic decoration. It may be the mistress has 




400 DAINTY WORK FOR PLEASURE AND PROFIT. 

passed the period of life when "'fancy work" had a charm, she may be a 
woman of "ability" who scorns the "little trifles" of life, or it may be 
the mother and daughters have, by years of pinching economies, helped to 
upbuild that elegant home of brick and mortar, and so have not had time 
to give it the home-look of habitations where womanly love and care pre- 
sides over all departments. It would be unjust to say that the inmates 
of these bare-looking homes do not desire beautiful pictures, graceful 
draperies, pretty nick-nacks and all the little touches that help to make 
the real home. They do desire these things, as the orders daily received by 
the leading upholstery houses in the large cities attest, and here is the 
opportunity for the woman who has a love for making beautiful things, and 
the time to give to it. She can exchange her brain work, her artistic abili- 
ties for the dollars and cents of her wealthier neighbors by taking orders 
for making their homes beautiful, "and filling them within the shelter of her 
own home." 

The First Start. 

To make a beginning is the hardest part of the battle, and as so much 
depends upon the right kind of a start we will here give a few general hints, 
which, while they may not fit each individual case, can be modified to meet 
almost any requirement for doing work at home, generally called "order 
work," sometimes including "teaching." 

In the first place the woman who intends to do "order work" to make 
it pay, must know what she can do, and must have absolute confidence in her 
ability to do it and do it well. People do not care to pay for art work or 
decorative work unless it is what it claims to be, therefore the very first step 
to take on the road to success is thorough preparation. It is absolutely nec- 
cessary that the worker should understand hem-stitching, Roman embroidery, 
Kensington embroidery, satin stitch and novelty stitches; she should be 
capable of making up the different articles after the work of embroidery 
has been completed. 

Understanding all the above requirements she should carefully con- 
sider her territory, go over every inch of the ground mentally and decide 
what articles will be most likely to find sale. The next thing to consider is 
the question of 



DAINTY WORK FOR PROFIT. 401 

Commenced Samples. 

This i> a very important point and one upon which depends much, if not 
the entire future success of the worker. The item of expense of these 
articles is one of serious moment, and in many cases offers almost unsur- 
mountable obstacles, but very little can be accomplished without them, and 
the dif^culty might as well be met first as last. However, there are relative 
degrees of cost and some very attractive samples can be gotten up with 
little outlay of money, and it is here the writer wishes to give some very 
practical words of advice. Stamp a?id comme^ice only such samples as you thuik 
there is a rcasotiable chance of selling. For instance: in your mental survey of 
the field of possible customers, you have decided that Mrs. A., who has a 
"craze" for decorated table linen, and cares little or nothing for articles of 
mere ornament, will most likely give you an order for some doyleys or a 
center piece. Your wisest course will be to stamp on fine, firm linen a 
design for center piece. The design may be Dresden or Roman embroi- 
dery or a conventional design filled with fancy filling stitches, in either case 
a section should be neatly worked, then on good brown manila paper 
stamp twelve different doyleys to go with the center — this saves spending 
the money for the linen for the doyleys and will answer as well. 

These articles will make a practical beginning for your samples; but you 
have provided for the taste of only one class of customers; there is 
another class who have an especial pride in bed-room furnishings. To 
meet this possible demand stamp two pillow shams — not mates, but one of 
two different sets — and treat each one differently in the sampling. Again, 
some ladies have a penchant for hem-stitched hems, therefore one of the 
shams at least should be so finished, it may be the means of obtaining 
orders for many yards of hem-stitching. Then, as towels with hand- 
somely worked initials are dear to the heart of every woman worthy the 
name of home-maker, have at least one sample worked, and let the stitches 
be set "on honor" every time, as in no other form of decorative work does 
the effect depend so much upon the neatness and exactness with which the 
design is wrought. 

If these instructions have so far been followed the worker will have 
as samples: one center piece, 27x27 inches, one set of twelve doyleys 
stamped on paper, two pillow shams and one embroidered towel. These sam- 



402 DAINTY WORK FOR PLEASURE AND PROFIT. 

pies, if stamped with attractive designs and having a portion of each neatly 
sampled or commenced, to show how the work will look when finished, will 
afford sufficient working capital for a start, and should not cost to exceed 
$2.00. This estimate does not include sufficient embroidery threads to finish. 
In addition to the above it is a most satisfactory plan to have at hand a 
neatly arranged book of samples of different fabrics, as several qualities of 
linen, satin damask, scrim, crash, plush, sateen, and any new material that 
may be suitable for decorative needle-work; have each sample neatly 
labeled, with name, width, and price per yard. In addition there should be a 
line of samples of all the various embroidery threads, which will be found 
named and described in the chapter on "Materials." Have these threads 
arranged so that they can be displayed without much handling, as that will 
detract from their lustre and finish. These samples can be procured for an 
additional expenditure of Si. 

Designs for Order Work. 

There is yet another question, and a most important one, viz.: 
Designs. The successful order worker should have a selection of stamping 
patterns of exclusive designs, that is she should be careful. to supply herself 
with such patterns as are not to be had elsewhere in her territory. These 
designs should include three center cloth patterns, twelve doyleys, (differ- 
ent designs for each) butter, ^^%, fish, hot-roll and cake doyleys, one lunch 
set, three designs for shams, two Dresden designs that can be used for any 
purpose, three cushion cover designs — one floral, one conventional and one 
Roman — and half a dozen all-over patterns that can be used anywhere, on 
large or small articles. 

Do not allow these designs to become common. If you use one design 
for a center piece for one customer, do not repeat that design for another 
customer in the same neighborhood, or even in the same social circle; no 
lady likes to spend monej- for an article she fondly hopes is the latest thing 
in art work, only to find it duplicated on half a dozen tables. The moment 
one of your designs is to be had in the shops, discard it. Your only hope 
for order work and good pay for same, lies in your ability to give the ladies 
something they think cannot be had elsewhere. To keep your designs 
exclusive and fresh will require time, care and eternal vigilance, but be sure 
it ivill pay. 



DAINTY WORK FOR PROFIT. 403 

Soliciting Orders for Embroidery. 

Having a knowledge of art embroidery, and being perfectly posted as 
to the prevailing "fads" in the decorative line, and in possession of the 
commenced articles, and a line of samples, you are prepared to enter the 
list with a fair chance of winning a brilliant victory; but there is one 
quality we have, as yet, not mentioned, and one without which success is 
impossible, viz.: confidence ; confidence, not in your customers, but in your- 
self. And here is where failure is likely to stare you in the face at the 
outset; but do not give up in despair, if you have not "confidence," then 
you must cultivate that necessary quality. It is always better in this work 
to make a personal canvas of your customers, taking your samples with you 
and soliciting the order in person. In working your samples, you have had 
in mind certain persons whom you thought it more tha^i probable would be 
interested to the extent of ordering the sample finished. Call upon such 
first; state clearly, without embarrassment or false pride that you intend to 
establish a parlor for private order work, that you will furnish only exclu- 
sive designs, and that you wish to secure the lady as a patron; show your 
samples, which are bound to interest any woman, no matter how much she 
maybe determined not to give you her orders, or how much she may think 
there is nothing in the world she needs in your line. The ice once broken, 
the matter is easy. Interest grows with every word you utter on the sub- 
ject. Be sure to lead the conversation, holding it well in hand, and close 
to the line of home beautifying; be enthusiastic, talk of what is being used 
for this and that purpose, discuss bed-room furnishings, suggest novel and 
pretty ideas for wall and mantel ornaments, a cushion cover, an ottoman, 
any and everything in the line of art work. Be decided in expressing 
an opinion as to the relative merits of shading, stitches to be used, 
materials — in a word, leave upon the mind of your listener the firm impres- 
sion that what you don't know about interior decoration isn't worth con- 
sidering, and all the while this should be the truth, for you have no business 
in the field unless you are posted, unless you do know that your ideas are 
bright, original and practical. An hour spent in such conversation with 
the right person is "capital well invested." 

The first day's work in soliciting may not result in obtaining any 
definite orders (this is hardly probable) but a beginning will have been 



404 DAINTY WORK FOR PLEASURE AND PROFIT. 

made. The ladies called upon will be sure to talk about the work, the ideas 
you have advanced, and the samples you have shown, and it will not be 
long before the seed sown will bear fruit in more orders for decorative 
needlework than one pair of hands can well accomplish. 

Teaching Embroidery. 

If you have the time, it will pay to interest the ladies to do some of their 
own embroidery, and to this end classes should be formed, of two or three 
ladies for a class, not more, unless you have been accustomed to teaching. 
Induce them to commence some article, rather than to work on a sampler; 
stamp the design clearly, according to instructions given in chapter on 
"Designing," and lay out the proper shades and select a suitable embroidery 
hoop; all this should be done previous to the hour appointed for the lessons, 
so that no time may be lost. Aside from the profit accruing from the 
lessons, it will be a certain means of extending your fame as an art needle- 
worker abroad, and will not in the least diminish your chances for obtain- 
ing order work. 

The most embarrassing question connected with this method of doing 
business is the one of 

What to Charge and how to Collect 

and especially is this the case where parties are acquaintances, and may be 
friends. The social relation should not be considered in this connection, and 
the only successful method is to adopt a nile of procedure to be applied to 
all cases, and apply it impartially. Never accept an indeffinite order, as 
"my dear Mrs. A. I believe I will have you get me up something for my 
dressing case, something pretty!" 
"What would you like?" 

"Oh, I'm not particular, just anything that would suit you!" 
Never be betrayed into filling such an order. Insist upon the name of 
the article being specified, the nature of the work, the scheme of color, 
the amount of work, cost and nature of materials, and last the price of the 
whole when completed. Make a memoranda of the items in the form of 
an order, read it to the lady and pass it to her for her signature. This will 
preclude the possibility of any mistakes being made, and leave no loop- 
hole for misunderstandings to occur when too late to rectify them. Be 



DAINTY WORK FOR PROFIT. 405 

sure to fill all orders according to agreement, make out a bill for the work 
and present when the work is delivered, and insist gently upon payment at 
that time; if this is not possible have a definite time set when you are to 
call for the amount, and be punctually on hand. Women, as a rule, are apt 
to be careless in regard to the payment of such bills, and allow them to run 
into indefinite time, but they will none the less be your customers because 
you insist upon your rights in a dignified manner. 

Where the parties are not known to you insist upon an advance pay- 
ment of at least one half the price when the order is taken, and the balance 
upon delivery. 

Do not work too cheap, neither be exhorbitant in your charges. Make 
the estimate of cost upon the time occupied in filling the order; at the rate 
of Si. 50 per day is a fair consideration. When possible furnish the embroi- 
dery silks, linen or other threads used in your work; by this means you will 
always be certain of having correct shading and then, too, the profit on the 
same will be an item worth considering at the end of a year, as you will be 
able to make arrangements to secure these materials in small quantities of 
the wholesale houses. 

The chapters on "Shading," "Designing," "Stitches," "Materials," 
"Art Embroidery," including "Roman Embroidery," "Kensington and 
Satin Embroidery," "Application of Stitches," and "Drawn Work," con- 
tain all the instructions necessary to thoroughly equip one for "Order 
Work," without the aid of a teacher, if even the learner has had no pre- 
vious instructions in embroidery, provided she has any natural aptitude for 
the work. 

Art Bazaars or Fancy Goods Stores. 

We come now to the second class of women, who need to earn money, 
and have an inclination to turn their energies to interior decoration and 
art needlework. For such the "Art Emporium," "Fancy Goods Bazaar," 
or "Decorative Art Store" offer a field that well repays careful cultivation. 

The first consideration for such a departure is that of Capital, usually, 
a word of discouraging import to women of ambition, as so few women ever 
have anything except brain, energy, pluck, faith and hope, to work with; 
but even the want of capital can, in a measure, be overcome by good bus- 



406 DAINTY WORK FOR PLEASURE AND PROFIT. 

iness ability. Of course there must be some ready money, but the amount 
actually necessary can be brought down to quite modest proportions, pro- 
vided, always, one knows how to go to work, and has a good reputation at 
home for integrity and honesty of purpose in all the relations of life. 

In opening a store for the sale of any line of merchandise there are 
many things to be considered, but most important of all is that of location; 
and in no other business is it more important — we had almost said as im- 
portant — as in that of decorative art supplies. Women are creatures of 
impressions as well as of impulses, and in the matter of patronizing art stores 
it is certainly true. A good field for a lucrative trade may be utterly ruined 
simply by having the store on the wrong side of a street, or because it is 
located next to some objectionable place, that has been put uader the ban 
of the fair ones of the town. Then, in selecting a store, give the matter 
earnest consideration; stand upon a corner near the location you prefer on 
a fine day and watch the pedestrians; note especially the lady shoppers 
and the side of the street they affect; note also the particular locality on 
the chosen side they longest linger, and most congregate, and there pitch 
your tent, if possible, even if the obtainable location there does not offer 
half the conveniences to be had elsewhere. Better stay out of business 
than locate it on the wroiig side of the street, or on the wrong street, for that 
matter. The location secured, the next step to consider is the proper 

Store Fittings. 

These may be very expensive,or simple home-made affairs, as the purse 
of the proprietor can afford. It is a matter of fact in these days of enter- 
prise and business push that the richer the furnishings and the better the 
impression of business prosperity that can be sent abroad the better the 
business is sure to be in point of fact as well as reputation; "nothing suc- 
ceeds like success," says Emerson, and a better business motto could not be 
adopted. If plate glass and brass-trimmed show cases and handsome wall 
cases are out of the question at first, then the general air of well-to-do pros- 
perity must be imparted to the store by some other, less expensive means. 

A good wall case for the display of large articles is an absolute neces- 
sity, as it serves to protect from dust such articles, while it, at the same 
time, allows of their examination without handling. Such a case can be 



DAINTY WORK FOR PROFIT. 407 

made by any carpenter, and common pine will do for the frame work. The 
case should reach almost to the ceiling, and should be lined inside with tar 
paper, for the purpose of keeping out moths; brass hooks should be placed 
at intervals around the inside of case, and at different heights, for the purpose 
of suspending articles. There should be suspended from the top of the 
case a few "swings," through which to throw handsome fabrics, embroi- 
dered or not. The swings allow of most graceful arrangements, but they 
should not be so placed as to interfere with the view of articles hung on 
the back wall of the case. The doors should be paneled with glass, and 
the frame stained or ebonized. Very pretty show cases, nickel trimmed, 
can be purchased for almost any price from $12 to S25, and of these there 
should be at least three, as they help to give an air of "fullness" to the 
establishment. For the show windows there should be several side brack- 
ets, to fasten to the window frame, one or two small stands that can be 
placed in the window for the purpose of displaying scarfs, covers, etc., two 
or three swings for each window, and two small easels, which can be pur- 
chased for 50 cents each. 

The store room should be divided in the rear so as to enclose a space 
for a work room. This is quite necessary, and the partition should be strong 
and have a door that can ho: fastened, when necessary. Do not be deluded 
into using screens or a curtain draped on a pole for this purpose. The 
work room should never be opened to the public — and above all to favored 
customers; it should be kept sacred to the "secrets of the trade." It is 
here that stamping, embroidery and finishing articles should be carried on, 
and the worker should not be subject to the interruptions of the idle and 
curious. This partition should be made of good matched stuff and stained, 
and will offer a good surface for the display of such articles as will not be 
injured by exposure. The wall case should occupy one of the sides of the 
room. In front of it should be a couple of chairs or footstools aiid a small 
stand. On the opposite side of the room should be arranged shelves, in 
front of which place two of the show cases. Across the end of the room, 
in front of the partition, place another case; then the room will be covered 
on three sides with show-case display, and the front windows will be 
reserved for street display. 



408 DAINTY WORK FOR PLEASURE AND PROFIT. 

This arrangement is especially desirable when the stock to be carried 
15 limited, and a good appearance is to be made with the smallest possible 
outlay of money. The store fittings decided upon, the next question is 
the one of 

Stock or Goods to be Carried. 

This is a question that must be decided by each person for herself, 
as the same rule will not apply to hardly any two localities that could be 
named. The goods that will find readiest sale and yield best profits 
depends entirely on the class of people to be catered to. 

If the location has a good farming country tributary to it, then such 
goods must be carried as will appeal to that class, and ideas and styles that 
are a little old in the cities will find readiest sale. If, however, you intend 
to depend upon town trade, almost exclusively, then your stock must con- 
tain the latest novelties in work and material; but happy is the dealer whose 
trade combines both these classes. 

There are certain things that an art store should always be supplied 
with, as follows: embroidery needles, hoops or frames, embroidery silks, 
all sizes and shades, embroidery linen, embroidery cotton, knitting silk, 
wools, gold threads, couching cords, German cord, stamping patterns and 
chenilles and arrasenes if the trade calls for them. These articles are 
staple, and are as necessary to the art supply dealer as flour and sugar are 
to the stock of a grocer. 

In putting in a stock of silk or linen threads select the make that you 
wish to carry, and put in a complete line of that manufacture, selecting the 
different sizes, and a good variety of shades in complete lines. Thus, if 
you buy rope silk in pink, put in the entire line of pink shades; this rule 
applies to the rope silks, filo floss and royal floss. In etching and 
heavier twist silks close shading is not so necessary, and only such shades 
should be carried in stock as are commonly called for, as yellow (different 
shades), red, pink, blue, brown, green and white. The same applies to linen 
threads. For a description of these materials see chapter on "Materials." 
Never allow your stock of embroidery threads, of whatever kind, to become 
depleted; keep the shades full and complete. Never allow a customer to 
ask for a shade or color that you cannot supply, and at once, without wait- 
ing to order from your jobber. And above all things never mix your stock 



DAINTY WORK FOR PROFIT. 409 

of silks and linens by adding to it from the stock of other silk and linen 
manufacturers than the one you first selected. Their materials may be as 
good, the colors as fast, but no two manufacturers ever produce the same line 
of shades, and it is fatal to mix them. If for any reason you become dissatis- 
fied with the goods you are handling, close them all out before you make a 
change, and when you are ready put in a full and complete line of the new 
goods. 

Art Fabrics. 

Art fabrics can be purchased from most of the jobbers in quantities as 
small as half a yard. Where the capital will allow, it is a good plan to 
purchase 10 yards good fine linen, 40 inches wide; 10 yards same quality, 18 
inches wide; 2 yards satin damask, 72 inches wide; 2 yards silk bolting; 
25^ yards No. 6 and the same amount No. 4 Bargarren art cloth, in cream 
white; 2 J^ yards cotton tapestry; i >^ yards ecru art linen; 2 yards linen 
lawn for doyleys; one table cover; i y^ yards square, mail cloth; one table 
cover, same size, of double-faced sateen. As these are high-priced fabrics, 
they will give an air of elegance to the stock. The above materials should 
be in addition to the commenced or made-up samples. 

Ask your dealer to supply you with a sample book of art fabrics, from 
which your customers can select, when the goods may be ordered after the 
sale is made. 

We now come to the dressing of the store — to t\\& samples of work ; and 
here lies the key-note of success or failure. 

Sample and Display Work. 

The samples should be completed before the store is rented, or stock 
ordered; and this is the more important if you must, from reasons of econ- 
omy, do all the work yourself. You should not have the worry of them on 
your mind while getting ready for the "opening." As an assistance in 
selecting samples that will make the best display with the least outlay, we 
append the following list of articles, with their approximate prices. 

This list must not be accepted as absolute and arbitrary, as individual 
cases may, nay undoubtedly will, require modification; but it will, at least, 
be a guide for all and a rule for many cases. 

In giving estimates of cost it is assumed that the prospective dealer 
will herself do the work of embroidering and making up the various arti- 



410 DAINTY WORK FOR PLEASURE AND PROFIT. 

cles, and that her purchases for display samples will have been made at 
wholesale: 

List of Desirable Samples. 

One table cover, 54 inches square. 

One table scarf, 72 inches long. 

One bed spread, 2>^ yards long, 72 inches wide. 

One dressing case scarf. 

One pair pillow shams. 

One embroidered guest towel. 

One-half dozen doyleys. 

Three center cloths — one square, one round and one long. 

Three plate doyleys. 

Butter, corn, egg, muf^n and fish doyleys — one of each. 

One five-o'clock tea cloth. 

Three drapes, one toilet set, including bottles, mats, etc. 

Six different- shaped toilet cushions. 

Three chair rests. 

Three sofa cushions. 

Two or three mat-covers for small stands, and, if possible, a few made- 
up novelties in the shape of calendars, photo frames, pen wipers, hair-pin 
receivers, etc. 

Materials for Made-Up Samples. 

This is a question that must be decided according to the fabrics that 
are newest on the market at the time the samples are required. For the 
next five or six years the following fabrics may safely be employed, as they 
are, and will continue, staple: Linen fabrics are always the correct thing 
for table and bedroom sets, and know no "change of style." For table 
scarf and cover, either sateen, mail cloth or Russian tapestry may be used. 
For one sofa cushion, plush, for another, faille silk, and for a third, art 
linen, in colors. For the pillow sham, good domestic linen; for the bed- 
spread. No. 6 Bargarren art cloth, homespun linen or art tapestry; for 
the toilet cushions, fine linens and China silk; for the doyleys and center 
pieces, good, firm linen of a fine quality; for the tea cloth, satin damask. 
Chair rests may be made from soft silk and linen lawn. Dressing case 



DAINTY WORK FOR PROFIT. 411 

scarfs should be of Hollywood drapery, linens, or bolting silk. Drapes are 
prettiest made of soft China or India silk. 

In making up the table cover, stamp the corners with a floral conven- 
tional design, as these are more popular than the geometric patterns. Work 
one corner complete in short and long stitch with rope silk, being careful 
to shade properly— according to directions for Shading given in Chapter VII. 
If there is time, and the cost of the extra silk no inconvenience, this piece 
should be finished and lined, when it could be displayed on a table or 
hung on the back of the wall case in such manner as to show all the work. 

The table scarf may be made of Bargarren art cloth, plush or basket 
silk. Both ends should be stamped. Work one end in a floral design, 
with conventional shading in solid Kensington stitch, the other end may 
be treated with a conventional design, outlined, and filled over the surface 
with fancy filling stitches.— See chapters on "Stitches" and "Application of 
Stitches." 

Bed furnishings are subjects in which almost every woman is inter- 
ested, therefore the sample bedspread and pillow shams should be under- 
taken with much thought and care. We might suggest a number of artistic 
and beautiful combinations, both as to foundation fabric and embroidery 
threads, that would make a brilliant display, but there is also the question 
of utility to be considered, so that one cannot do much better than to 
select a cream-white Bargarren cloth. No. 6 mesh, for the spread, or a heavy 
Roman twilled linen, if preferred — either fabric improves with repeated 
launderings. Stamp a conventional design over the entire spread. No 
patterns with many and intricate details should be used, but branching 
sprays, with large petaled flowers and generous foliage. Work a good por- 
tion of the spread — at least one-quarter — with Bargarren art thread, in out- 
line stitch, or short and long stitches; or, if the twilled linen is selected for 
the spread, the design can be worked out with rope linen. Finish the side 
edges of the spread with a handsome crocheted edge, made of Scotch cro- 
chet linen thread No. 50— figure 336, on page 393, in the chapter on "Knit- 
ting and Crochet," will furnish a beautiful design for this purpose. Such 
an edge will be the means of selling crochet threads of various kinds, in 
which there is always a good margin of profit. The shams should be 
stamped and sampled to match. If possible, an additional pair of shams 



412 DAINTY WORK FOR PLEASURE AND PROFIT. 

should be stamped with Roman embroidery design for the edge, and the center 
with Dresden effect, and sampled with linen floss. The material should be 
linen. These are not necessary, but make a good show case article. Dress- 
ing case scarfs may be made of fine linen* with hemstitched hem, and 
have a few scattered flowers over the surface, worked solid; or, one may be 
made of bolting silk, with a scattered design of chrysanthemums over the 
entire surface, worked in outline, with one strand filo floss in pale yellow, 
white or rose-pink. The edges should be finished with fine, soft lace, and 
the scarf should be displayed over a quilted or tufted mat, made to just fit 
the top of dressing case. The mat should be made of China silk, the same 
color as the threads used to embroider with. 

A toilet set of bottles and mats should be made, and for a model for 
this purpose see page 84, chapter on "Art Embroidery." Ideas for center 
piece, doyleys, mats, cushions, see chapters on "Dainty Trifles" and "Art 
Embroidery." The doyleys and mats should be completed, as they do not 
show to advantage sampled. The following is an approximate estimate 
of the 

Cost of Commenced Samples. 

Table cover, 54 inches square, mail cloth S3 00 

Silks for sampling on . corner 40 

Silk for completing embroidery i 60 

Lining and cord for edge finish i 55 

Cost, complete ^655 

Table scarf, 72 inches long, Bargarren art cloth $ 80 

Rope silk, for working both ends short and long stitch and 

fancy filling stitches i 20 

$2 00 

Bedspread, Bargarren art cloth $2 50 

Bargarren art linen, for sampling 60 

Crochet thread, for edge 50 

$3 60 

Shams to match $ 75 

Linen thread, for sampling 30 

^i 05 



DAINTY WORK FOR PROFIT. 413 

One Dressing case scarf of linen, with edge and ends hem- 
stitched $ 75 

Silk, for sampling 25 

$1 00 

Dressing case scarf, silk bolting, cut to fit top of dresser $1 25 

Silk, to finish 50 

Lace, to edge ' i 25 

Pad, to place under the scarf i 00 

$4 00 

Guest towel, with linens for embroidery Si 00 

Material for toilet sets and mats of fine white linens and wash 

Silk embroidery threads S 75 

Bottles, per pair ., i 00 

$2 75 

Materials for six toilet cushions S2 00 

Materials for three chair rests of linen lawn, China silk and 

domestic linens, with wash silk, to sample 3 00 

Cushions (three), plush, art linen and silk, with material to 

finish 7 50 

Center pieces, satin damask, with wash silk, embroiderd 

threads, to complete 2 50 

$15 GO 

Materials for working table mats and doyleys, one dozen $ 75 

Embroidery silk for working designs i 00 

Si 75 

Total cost of samples $37 70 

This estimate includes sufficient material for finishing complete. For 
ideas as to stitches and designs, see chapters on "Art Embroidery" and 
"Stitches." 

If it can be afforded, there should be in addition one or two picture 
throws daintily outlined, and several pieces of work commenced with 
Roman embroidery, which would swell the total to possibly $45-00. 

Window Display. 

In the estimate given for samples, there has been nothing listed that will 
11(1- f.,i.l rcadv sale, but it is well to have a show piece— that is, a novelty fo-. 



414 DAINTY WORK FOR PLEASURE AND PROFIT. 

show window; also to serve as an indication of the skill of the needle- 
worker. For this purpose there is nothing that will so well serve the pur- 
pose as a handsome piece of raised work. A sofa cushion of dark-blue 
plush, with a spray of blush roses (double) in ribbon, and foliage of che- 
nille, if properly made, will attract crowds of ladies; or, a panel of dark 
red plush, on which is grouped two or three calla lilies, will prove equally 
irresistible. There is something about the craze for raised embroidery 
that is infectious — no matter how much out of date it may be there will 
always be scores of admirers for any well-made sample of it. It would be well 
to have two or three different samples, so as to change the window at- 
traction occasionally. Lessons for making all kinds of raised work will be 
found in the chapter on "Raised Embroidery," with amount of material 
required for any given design. The samples having been disposed of, the 
next question is that of 

STOCK. 

The question of the quality of stock to be carried must depend upon 
the class of customers, to some extent, though a clever dealer will be able 
to sell almost anything upon which she sets the seal of her approval. The 
amount of stock to be carrieb will depend upon the requirements of the 
trade, the amount of capital at her command or the "credit" she may be 
able to obtain. 

It is better to put in a small line of materials first, and add to them as 
the demand is made. A full and complete line of embroidery linen threads, 
and the same of embroidery silks, should be carried, and the assortment of 
shades should be kept complete. This part of the stock is necessarily ex- 
pensive at the start, but it is to an art bazaar what flour is to the grocer, and 
must be carried. There is, however, a fair margin of profit on it, and deco- 
rative needlework cannot be done without it. 

A line of wash silks, including etching,rope, filo floss and royal floss 
should be selected with a reference to the probable uses of each kind. 
Etching silk is used in Roman embroidery, satin stitch on flannel and cash- 
mere, and for outline work principally, therefore the shadings need not be 
so close as in silks used for solid effects. A good line of four shades 
of wood-brown, the same of yellow, pink, old blue, terra cotta, olive green, 
sage green, white, old rose, baby blue and heliotrope, will most likely be 



DAINTY WORK FOR PROFIT. 415 

sufficient for a start. These silks are put up in 3^ oz. bunches to a color, 
each 3^ oz. containing 22 skeins of etching silks. Thus it will be necessary 
to purchase 24 ounces of etching silks to secure four shades each of the 
colors mentioned, this, at a rough estimate, will cost $17.20. 

Filo floss is used for solid Kensington, long and short stitch, etc., and 
more shades will be necessary. The following colors and shades are desir- 
able: Yellow, from pale canary to deep orange, twelve shades in all, 3^ oz. 
of each; old rose, five shades; olive green, six shades; sage green, five 
shades; golden brown, seven shades; wood brown, six shades; heliotrope, 
five shades; lavender, four shades; baby blue, nine shades; rose pink, 
three shades; cardinal red, ten shades; white, three ounces. The^ outlay 
for the stock of filo floss will amount to $38.00, approximately. 

Rope silk will stand next in importance, though the shading need not 
be quite so finely graded. The colors should include yellow, from canary 
to orange, twelve shades; olive green, six shades; golden brown, seven 
shades; lily green, five shades; old rose, five shades; old blue, five shades; 
baby blue, four shades; rose pink, three shades; red, ten shades; wood 
brown, five shades; white. The stock will cost about $25.60. 

If it is decided to carry a line of linen embroidery threads, it will be 
necessary to put in a stock of the four sizes, viz.: Bargarren art thread, 
rope linen, linen floss No. 4, and linen floss No. 8 (for description of various 
embroidery threads see chapter on " Materials"). The cost of a supply of 
linen of all sizes will be about as follows, $48.00. Having selected the em- 
broidery threads, the most expensive part of the stock will have been se- 
cured. There should be added gold thread of two sizes, both in skeins and 
on spools, crochet linen thread, knitting silks, yarns, crochet needles, knit- 
ting needles, embroidery needles, an assortment of stuffed cushions of 
various sizes, and if arrasene and chenille are being used, a limited sup- 
ply may safely be carried. An assortment sufficient for the last ten men- 
tioned articles can be purchased for about $60.00. 

If it can be afforded, there should be carried in stock several qualities 
of white linen of different widths, a few yards of each, a square of basket 
silk, a few yards of huck-a-buck, a few pieces of drapery silks, in i>^ yard 
lengths, to the extent of at least $30.00. The estimate up to this point 
stands as follows : 



4i6 DAINTY WORK FOR PLEASURE AND PROFIT. 

Store furnishings $ lou 

Commenced samples 30 

Stock of embroidery silks 80 

Stock of embroidery linens 48 

Stock of knitting silks, crochet linens, various needles, stuffed 

cushions, gold threads, etc 60 

Stock of piece goods, linens, etc 30 

Total S 356 

Properly disposed, this stock will make a most imposing display. 
Empty boxes should fill the top of the case of shelves lining one wall, 
while on the lower shelves the yarns, crochet threads, piece goods, etc., 
may be displayed. One show case should be attractively filled with the 
various kinds of embroidery silks, one with the linen threads, while the 
wall case and one show case should be reserved for commenced samples 
and made-up trifles. 

The windows should be dressed with such articles as can stand the light, 
and that can easily be cleaned from dust. If it is decided to carry a stock 
of materials for decorative painting, an attractive display can be made 
from that stock; stamped linens, such as shams, tea cloth, doyleys, towels, 
etc., will always attract attention, and can be procured at a very small outlay, 
while a pretty jardinere of artificial paper flowers will lend a bit of needed 
color to the display, and, as mentioned above, a piece of raised embroidery 
is a potent factor in attracting attention to the store. 

In giving a list of materials for stock, only staple articles have been 
included, such as will sell at any season of the year, and every year. There 
are, however, novelties brought out each season, by the different manu- 
facturers, and it is owing to the introduction of these that interest in fancy 
work is kept alive, so one cannot afford to ignore the "novelties," though 
they must be handled with caution, as a left-over stock of out-of-date 
novelties is the saddest sight a dealer can behold. These "introductions" 
may be divided into two classes, viz.: Novelties that are destined to have a 
run of a few weeks only, and those that will retain their popularity for a 
season or two. How to distinguish between the two classes is a question 
that vexes often the veteran dealer; how, then, shall the beginner protect 
herself ? The surest and, indeed, only safe way is to buy sparingly of any 
novelty, no matter how desirable it may seem. It will be found much 



DAINTY WORK FOR PROFIT. 417 

easier to order more, than to dispose of it after the "run" is over. In general, 
such things as paper flowers, painted novelties, embroidery threads, that 
are not in themselves artistic or adapted for artistic work, should be pur- 
chased with caution, though in the matter of paper flowers justice compels 
us to admit they have obtained such a hold upon the public, that the 
materials for making them are carried by all first-class houses. Each 
dealer must decide for herself what she can best carry in stock, and she 
can decide only by experimenting with her trade, therefore, the best the 
writer can do for the beginner is to utter the warning words, which should 
be used as a motto when the ever-persuasive salesman is abroad in the 
land: "Caution! Buy Sparingly!" Indeed, it would not be a bad idea to 
have the quotation printed in large letters and placed in the office desk, 
where the eye of the dealer will be sure to rest upon it when making out 
orders. 

On the other hand, do not be afraid to put in novelties as they come out, 
even if only one or two of a kind. It is necessary to keep up with the 
times. It is of vital importance that your customers find in your stock 
whatever novelty of the day is being written up by the art journals, taught 
by traveling teachers, or displayed in the leading stores of your nearest 
city. It is not only important that you have the article or articles, but that 
you let people know you have them, and to this end consider that judicious 
advertising is capital so well invested that it is sure to bring you in the 
largest profits. The writer calls to mind an energetic little lady in a far 
western town who started a modest art bazaar with limited means, and still 
more limited experience. As a matter of course, she stocked up beyond 
the capacity of the home trade, and, in consequence, found herself, as she 
naively expressed it, "stuck with a lot of stuff, and not a cent to turn 
around with." If she had not money, she soon demonstrated the fact that 
she had plenty of "mother wit." She had an interview with the publisher 
of the local paper, and the result was that each week appeared two columns 
of matter on "Fancy Work," describing the most ravishing toilet sets, 
daintiest of doyleys, pillow shams, and numberless odds and ends, until 
every woman in the county was fired with the determination to do fancy 
work, or die in the attempt; but the business came in here — each issue 
contained a local notice to the effect that Mrs. C was prepared to fur- 



4i8 DAINTY WORK FOR PLEASURE AND PROFIT. 

nish materials for making each and every article described in the article on 
"Fancy Work," besides many new and beautiful designs not described; aho 
work stamped and commenced, with proper shades of silks selected, and 
mailed to any address. The result? In three months her stock was reduced, 
she had working capital and, better than all else, was known in every corner 
of her own county, and in many surrounding towns. All the foregoing 
apropos to advertising. Of course, in the limits of the present article, 
the writer cannot follow the dealer through all the vicissitudes of a first 
venture; the most that can be done will be to put up warning signs along 
the way, wherever pitfalls are likely to trip the unwary. 

Stamping Patterns. 
This part of the outfit was purposely left out of the list of stock articles, 
as we wished to discuss it by itself. Stamping patterns are the most im- 
portant part of the equipment of an art bazaar or fancy goods store. There 
must be a supply sufificient for a large variety of work, but here must go up 
another "warning post" — "Do not purchase too many patterns in a season." 
The foundation stock must include designs for doyleys, five-o'clock tea 
cloths, tray cloth, caraffe mats, table mats, lunch sets, shams, bedspreads, 
curtains, cushions, large and small; dressing case and side board scarfs, and 
table covers, but do not purchase for a certain purpose more than three 
different patterns. There must be at least three sizes of alphabets and one 
monogram, with an assortment of designs for satin stitch on flannel, cash- 
mere, etc., including several scallops with corners. Such a supply of designs 
can be purchased for $20, together with a large blank book of strong 
manila paper. On the pages of this book stamp all the designs and num- 
ber them in consecutive order, marking the same number on the pattern. 
This book is for your customers to select designs from. They should 
never be allowed to handle the pattern itself. In fact, the pattern should 
be kept in the work room, spread out flat, without creasing, in a drawer or 
box. The patterns should be added to, a few each season. As soon as 
received, they too should be added to the design book and numbered. 
Remember that new designs are always a good investment; also remember 
that a few at a time and often will do more good than many and far apart 
in the season of their purchase. Nearly all large patterns for bedspreads 
curtains, table covers, etc., come in sections, and as many ladies have not 



DAINTY WORK FOR PROFIT. 419 

the power of imagining how it will look when put together, it will be found 
a very excellent plan to paste sheets of manila paper together, until a piece 
the size of a large table cover has been obtained. On this stamp the design 
clearly, and display, either in the window or wall case. Do not display too 
many at one time, but change them frequently. In fact, this advice may 
be applied to all the display articles — overcrowding of a window or show 
case is never desirable. A few articles, frequently changed, will be much 
more effective; also one or two strong pieces in a show window — something 
that can be seen at a glance, that will stand out, strong and distinct — will be 
far more attractive than a window crowded with a miscellaneous assortrrient 
of small novelties, no matter how pretty they may be in themselves. The 
window should be changed at least once each week, carefully putting out of 
sight for a couple of weeks the articles that have been used, when they may 
be again brought out. 

One of the first problems that will confront the woman who intends 
opening a fancy goods bazaar will be the question: Where to obtain the 
stock. As a rule women out of business know very little about such things 
and other women in the business are apt to be rather non-communicative 
on the subject. We cannot name any firms in the pages of this book, but 
the manager of almost any large retail dry goods stores will be perfectly 
willing to give the needed information. It is better to buy of the manu- 
facturers when possible, though for some reasons it is more convenient to 
purchase of a general jobber who carries all the different articles needed. 
Nearly all wholesale houses have catalogues, which they will send upon 
request. Much information can be obtained from them, though it must be 
understood that the lowest prices and best terms are never printed in them. 

The "getting ready" to begin business should not be rushed through. 
Plenty of time should be allowed for getting samples ready and stock 
selected, and the venture should be made at the beginning, not at the end, 
of a season. The best season for this trade is from the middle of Septem- 
ber to the middle of January, and from the 1st of April to the last of June. 
The time between the seasons can be profitably filled in by making up fresh 
samples, novelties for holiday sales, and the formation of classes in em- 
broidery. There need not be a week, nor a day, when the dealer shall not 
make a margin of profit, if the right kind of energy is given to the business. 



420 



DAINTY WORK FOR PLEASURE AND PROFIT. 




Bed draped with five yards china blue Waban netting. The spread, 
a section of which is shown, is made of Roman twill linen, the design is a 
cowslip blossom resting on a leaf of its own foliage scattered over the sur- 
face. Scotch linen floss in three shades of green and three shades of yellow 
will be required. Use short and long stitch for the leaves and solid Ken- 
sington for the flowers. Finish edge of spread with reticella crochet lace 
made of Real Scotch linen crochet thread, No. 36. 



DAINTY WORK FOR PROFIT. 421 

The pages of this book contain all the various lessons for making all 
kinds of decorative articles needed in a general art store, and any lady who 
wishes to open a bazaar for decorative needlework need not spend a dollar 
for lessons, nor waste time and money in further experiments, if she will 
but study carefully what we with great care have prepared for her guidance. 

For the benefit of that class of women who need actual illustrations of 
every step to be taken, we show on pages 257 to 308 several articles that 
may be made up to add to window and show case attractions. They will 
be found ready sellers at any season and afford also a pleasing variety. 
Following are the descriptions and numbers of the several articles. 

Toilet Set. 

Figure 271 illustrates a beautiful toilet set that is easy of consvruc- 
tion and decoration, and not expensive. The cushion is about twelve inches 
across, square in shape, and stuffed quite high. The cushion should first be 
covered with a plain covering of pale blue satin, or China silk. The four 
corners should be finished with large, loose bows of the same colored silk, 
fringed at the ends. As the entire effect of the cushion depends upon the 
arrangement of these bows, care should be taken to follow the illustration as 
closely as possible. The bows should almost meet on the four sides of 
cushion. For the center, cut a square of bolting silk to just fit the top of 
cushion, and over the entire surface paint conventional daisies, as shown in 
illustration, painting with gold paint the outlines of the design. The inner, 
star-shaped portion of each flower should be painted with two or three 
shades of blue in water colors, while the exact center should be of deep 
yellow. The same idea should be carried out on the bottles, which are first 
covered with the silk and afterward with the painted bolting silk. 

Glassine Handkerchief Saciiet. 

Figure 272 illustrates a beautiful handkerchief case, made of glassine 
and silk, A square of glassine, 28x28 inches, w^ill be required. Slash in the 
four corners, so as to leave a square in the center 14 x 14 inches; fold over 
the slashed corners and fasten in the center with a large ribbon bow. A 
spider web and floral arrangement is carried out in oil colors in pink, green 
and gold, but any other design could be substituted. The four corners 
are finished by small ribbon bows, and the inside of the case is lined with 
loosely tufted pink China silk, delicately scented. 



422 DAINTY WORK FOR PLEASURE AND PROFIT. 

Glass Panel Screen. 

Figure 273 shows a dainty little three-panel screen, made of glass with 
beveled edges. The design starts from the left-hand panel, and extends 
across the three. The subjects for decorating these glass novelties should 
be a simple floral arrangement. The model was treated with wild roses in 
oil colors. The panels are tied together with ribbon bows. These screens 
are used on the drawing room or parlor tables, placed before the lamp. 

Tobacco Pouch. 

Figure 274 shows a tobacco pouch made of chamois skin. The pouch 
is four inches wide and eight inches long. The side seam is decorated 
with three ribbon bows and the bottom is embroidered with a fringe made 
by slashing a piece of the chamois into one-quarter inch strips. To pre- 
pare the fringe, select a smooth piece of chamois three inches deep and as 
wide as the pouch. Paint it all over with liquid gold, and then slash, 
as previously described, to a depth of two and one- half inches. This will 
leave a half-inch of material for a heading. The neck of the pouch should 
have a draw string of one-inch ribbon. The design in illustration is a con- 
ventional arrangement, which will look well carried out in brown, with 
a glint of gold and dash of crimson, relieved with touches of deep, cool 
green, worked out with oil colors. 

Glassine Toilet Set. 

Figure 275 illustrates a unique toilet set. The cushion is square. The 
top is covered with a puffing of China silk in clover pink, sometimes called 
dead rose shade. This top cover must be arranged very carefully, for 
while puffed quite full an appearance of clumsiness must be avoided. Each 
corner has a narrow scarf of bolting silk, with edges feather stitched in 
olive green wash filo floss, gathered exactly on the point of the 
corner. Over this is arranged another scarf of China silk, of the same 
clover pink shade as is used on the top, tied in a loose bow and ends. 
Through the bow is run a cord and tassel of a lighter shade than the silk. 
Over the four corners is now placed a half circle of glassine, having the 
edges picked out in gold paint, and clover heads painted over the sur- 
face in oil colors in natural shades. The effect is wonderfully stylish. 



DAINTY WORK FOR PROFIT. 423 

The bottles are first covered with silk in clover pink shades, and over 
the bottom portion of each bottle is placed a cover of glassine, painted 
with a design of clovers to match the cushion pieces. The neck of each 
bottle is finished with a cord and tassel. 

Parchment Parasol Catch-All. 

Figure 276 shows a novel device for holding letters, cards and other 
small articles of a like nature. To make the parasol, any material may be 
employed that can be folded or creased without breaking. Parchment is, 
of course, the best for the purpose, but glassine or silk may be substituted. 
In case the latter is used it must be lined and also have an inter-lining of 
stiffening — crinoline will answer admirably. 

For the handle select a small-sized bamboo rod, or the handle of an old 
parasol will answer as well, provided it is of the short style. At the end 
bore a hole, and another about half way down the stick, and a third at the 
top. Cut the panels or gores out of the parchment, using as a pattern a 
section ripped from a discarded parasol. On each panel paint an edge de- 
sign with a floral design above, either in oil or water colors, following direc- 
tions given under those heads for working them. When the panels are 
thoroughly dry they are ready to be attached to the handle. 

Gather the top of the panels around the top of the handle, and fasten 
them securely to it by sewing with a strong darning needle, threaded with 
hair wire, both through the panels and the hole in the handle; cover this 
fastening with a bow of soft faille ribbon of harmonizing color. Now, when 
the parasol is suspended, bottom up, the parchment cov»er will fall straight 
out; therefore, it must be secured in position. The illustration shows 
the parasol half open. To secure this effect punch a hole through the edge 
of each gore, and run through from one gore to another a heavy silk cord 
draw it up until the desired effect is produced, and then pass the ends of 
the cord through the hole previously bored in the middle of the handle. 
Add another ribbon bow at this point. A cord and tassel finishes the bot- 
tom of the handle. Parchment is of a rich, old ivory color, and therefore 
a most exquisite background for painting. 

Traveling Roll. 

Figure 277 illustrates a most convenient traveling roll. The roll is 
made of ecru satin-finished linen. A piece of material twenty-seven 



4^4 DAINTY WORK FOR PLEASURE AND PROFIT. 

inches long and twenty-four inches wide, was used to make the model, thus 
makmg the roll twenty-seven inches long and twenty-four inches around. 
When sewed together the circular ends must be filled in with a little full- 
ness, and they should also be lined with heavy linen canvas or other stiffen- 
ing. The edges, where the ends are set in, look best finished with a rich 
brown cord sewed on. A handle can be purchased ready made, or one can 
be manufactured at home by covering a piece of stiffening with soft, brown 
leather or chamois skin. The design of birds in flight is particularly ap- 
propriate, and they should be painted in sepia and warm sepia — see direc- 
tions for painting birch bark. 

Duster Case. 

Figure 278 shows a convenient duster case made of brown linen. To 
make like the model will require a piece of linen twenty-seven inches long 
and eighteen inches wide. Fold the linen up from the bottom edge, to form 
the pocket, seventeen inches, and fasten downboth side edges. Fold over the 
top for the lap ten inches. Across the top put a row of heavy machine stitch- 
ing, but do not sew down the edges of the flap. Bind the entire case with 
wide silk braid, matching the linen as nearly as possible. The word 
" Duster" on the flap should be painted with sepia, and the design on the 
pocket should also be painted with sepia and warm sepia, using the colors 
lighter and darker. This will give a harmony in browns very pleasing to 
the eye. Some might prefer colors for the design, but for the purpose of 
decorating a traveling roll, the quiet, one-toned coloring is far more elegant 
and correct. Materials ready stamped for these articles always find sale. 

Calendar. 

Figure 279 shows an easy way of making a novelty calendar. The ma- 
terials required are three strips of ribbon, each one yard long, for the 
calendar numbers, one yard ribbon for bow, and one and a half yards cord 
and two tassels to suspend by. The celluloid is cut in the shape of a sham- 
rock, and inside each oval a square slit is cut out, leaving an open space 
through which to run the ribbon, having the days of the week, names of 
month and date. These are painted on the respective ribbons with liquid 
gold paint. The celluloid ovals are outlined with a broad band of gold 
paint, and springing from the center is a straggling design of convention- 
alized buttercups, painted in oil colors. 



CHAPTER XVIII. 




DESCRIPTION OF FULL PAGE ILLUSTRATIONS. 



HROUGHOUT the pages of "Dainty Work" 
will be found full page illustrations of various 
household articles, ornamented and otherwise. 
In some cases they bear direct reference to the 
subject treated of in the article they illustrate, 
and will need no further description here, while 
in others they are used merely to give larger 
scope to individual fancies — to show in the con- 
crete what has been treated of in the abstract. 
On page 58 a number of cushions and head 
rests are shown which are artistic and inexpensive. The roll shown at 
lower left hand corner of page can be used for head rest on large chair. To 
make, will require a roll made of stout cotton cloth, stuffed with cotton or 
sea moss. The size of roll is a matter of taste. The cotton roll in the model 
was covered with old rose china silk, sewed on plain and gathered in a full 
frill at each end, the edges of which have been fringed out. The center of 
the roll has a band of golden brown satin placed over the silk. This center 
cover comes to within three inches of each end, and is decorated with a 
conventional vine worked out in several shades of golden brown and rose 
pink; the ribbon by which it was suspended to the chair is a pale old rose. 
The model for the cushion at the lower right hand corner was a square 
of gas green velvet, folded to the center to meet a pale sea-shell pink puff 
of India silk. On one of the sections of the square was embroidered a 
small floral design, in royal floss silk. 

Above this cushion is shown another roll for chair back. The roll in 
the model was stuffed loosely with sea moss and covered with cream col- 



426 DAINTY WORK FOR PLEASURE AND PROFIT. 

ored India silk, tied at the ends with pale lavender ribbons. The design 
is a cluster of pansies looped with ribbon. The pansies were worked out 
with pansy purples in filo floss, and the ribbon outlined in a shade of pale, 
olive green royal floss. 

Over the roll head rest first mentioned is an infant's pillow covered 
with a slip of dainty white linen lawn edged with soft snowflake lace, and 
decorated in one corner with a single spray of lily of the valley; a dainty 
conception. 

The next cushion in the group is a leaf shaped head rest, made of cot- 
ton cloth and lightly filled with cotton wool and then covered with light 
golden brown India silk. The center is veined with pale pink, and the 
edges finished with short and long stitch in a deep, golden brown with 
royal floss. 

Page 1 14 shows four beautiful and inexpensive drapes, suitable for man- 
tel or picture frames. They may be made of any soft clinging fabric, but 
China silk is at once most satisfactory and artistic. 

Page 138 illustrates two drapes and a table doyley. The first figure 
shows a doyley made of white satin damask. A circle of pansies are 
stamped around the edge. The outer edge of petals are worked in short 
and long buttonhole stitch, with pale lavender linen floss. The inside of 
petals are filled with the different fancy stitches which are so easy to do, 
and so effective when well and evenly worked; the filling stitches should 
be of the linen floss, of a darker shade of purple than the edges; at least 
three shades should be employed. 

The drape at the left hand side of page is made of India silk — pale 
cream color. The design is one of leaves which are first tinted a pale 
green with water colors or Paris tints, and then outlined in short and long 
stitch with several shades of olive green filo floss, two strands. No two 
leaves should be alike. The cloth should be cut away on the ends and 
each leaf finished with a tassel of green filo floss. 

The second drape is made of pale blue India silk, on each end is a 
border of silk bolting, nine inches deep, on which is embroidered in daisy 
and outline stitch, a dainty design; for this use pale blue filo floss, one 
strand. The edge is then cut out and each point ornamented with a tassel 
made of blue and white filo floss. 



DESCRIPTION OF FULL PAGE ILLUSTRATIONS. 427 

Page 141 illustrates four beautiful drapes. The drape shown on the 
left hand, upper corner, is of white India silk stamped with a powdered 
design of roses and buds with broken bits of foliage. This design should 
be very delicately tinted with water colors in pinks, greens and stem 
browns, and each part of design lightly outlined with one strand of filo 
floss. The stitches must be daintily set and very even; match the silk 
against the tinting carefully. Three skeins of filo floss will work the entire 
design. The edge should be outlined and finished with green, pink and 
brown silk tassels. 

The drape on the upper right hand corner is of pale yellow surah silk 
of good quality. The design on the ends is a Roman embroidery pattern 
worked out with four deeper shades of yellow etching silk; see chapter on 
"Drawn Work" and "Lace Stitches" for method of filling in. The edge is 
embellished with tassels, made of several shades of yellow royal floss. 

The drape at the lower left hand corner is made of pale green India 
silk, bordered with a ten inch band of silk bolting, on which is worked a 
dainty design of jonquils with foliage wrought with filo floss in white, yel- 
low and palest greens. The edge is scalloped, finished with buttonhole 
stitch in pale green and ornamented with white, yellow and green silk 
tassels. 

At the lower right hand corner is illustrated a drape of silver green 
surah silk, bordered with a band of silk bolting feather-stitched on. This 
band is ornamented with a begonia design which is worked out in four 
shades of silver green filo floss; finished with tassels of white and silver 
green royal floss. 

Page 148 illustrates different methods of draping beds with spreads 
and shams, four of which are described as follows: 

Figure No. i shows a bed draped in Scotch Homespun, which is a 
fabric made of pure hand spun flax, in its natural color. The spread in the 
model has a border of poppies, slightly conventionalized, worked out with 
linen floss, in two shades of ecru and a rich wood brown. Solid Kensing- 
ton stitch is employed for the petals and French knots for the center. 
The monogram in the center is worked in the same shades in satin stitch, 
raised by working over a padding. The shams are worked in the same 
manner. The flowers could be worked out in the natural shades of poppy 



428 DAINTY WORK FOR PLEASURE AND PROFIT. 

reds with equally good effect. This material offers a beautiful background 
for Roman embroidery, and spread and shams decorated in this style of 
work are not only very handsome but serviceable. 

Figure No. 2 shows a bed also draped in Scotch Homespun. The 
pattern is a Dresden design of carnations which should be worked with 
solid Kensington stitch in Real Scotch linen floss, size 8. The pillows are 
covered with scarf of the Homespun, decorated to match spread. The 
ends of the scarf may be further embellished with a border of Roman em- 
broidery or drawn work. 

Figure 3 is draped with cream-colored Roman twill. The design is a 
border of ribbon enmeshed roses. The ribbon is outlined and filled with 
darning stitch in lily green rope silk; the roses are outlined with cream- 
white rope silk, the centers filled with pale yellow French knots and the 
under portion and lower part of petals with a few darning stitches in the 
palest shade of lily green. The effect is very light and dainty. The roses 
could be done in pale yellow, or pale rose pink, and the ribbon in wood 
brown. 

Figure No. 4 shows spread and shams of Devonshire art cloth with 
design of conventional clematis worked out in solid Kensington with helio- 
trope shades of rope silk. Spread and shams are of one piece. 

Page 154 illustrates a beautiful cover for a library or dining table. The 
material of which it is made is a square of Devonshire Art cloth in real flax 
color. The edge is ornamented with an ivy vine worked in outline stitch 
with wood brown Bargarren art linen thread. 

The outline stitch should be made very heavy, with a cord-like appear- 
ance. Over the surface of the cloth a conventional design is powdered, as 
shown in illustration. The leaves of this powdered design are worked in 
short and long stitch with rope linen in a lighter shade of wood brown than 
that used for the ivy vine. The stem of leaf is made with the darkest 
shade of wood brown, in outline stitch. The petals of the design are worked 
in short and long stitcJli, for which three shades of wood brown rope linen 
are used. The edge is treated in a novel and beautiful manner. A border is 
crocheted from linen crochet thread. No. 18, in pure flax color. After the 
shell design has been finished tiny tassels of the same linen are tied into 
the edge, forming a heavy fringe. 



DESCRIPTION OF FULL PAGE ILLUSTRATIONS. 429 

Page 174 illustrates a caraffe mat which is a combination of crochet 
work and embroidery. The center of the mat is cut out of firm white linen 
in the shape of an oak leaf. The natural leaf will furnish a good pattern, a 
little enlarged. Finish the edge with a row of short and long buttonhole 
stitch over German cord No. 0; for the buttonhole stitch a pale, green linen 
floss may be used; also for the veining in the center of the leaf. The vein- 
ing should be done in cord outline stitch. After this part of the work has 
been finished the edge should be added. Use cream white linen crochet 
thread: start the design in the edge of leaf as a foundation, and work from 
the leaf outward, in any design fancied. The wheels may be crocheted 
separately and added afterward if preferred. Often several designs may 
be combined in a single edge with excellent effect, the chapter on "Knitting 
and Crocheting" contains many designs that can be adapted for this purpose. 

Page 294 illustrates a beautiful window drapery. It consists of Waban 
netting draped over white lace curtains. The material for this drapery 
is cut in three different pieces; the two lengths that >form the long drapery 
and the length that is draped across the window, which should be disposed 
as lightly as possible. The netting can be had in all the art shades, or an 
old fish net may be pressed into service, though not as artistic as the Waban. 

Page 298 shows an entire room draped with the same material. The 
portiere in the foreground will afford an excellent study for drapery, while 
the small door and window in the distance show still other effects. This 
drapery material is inexpensive, and gives an idea of airy elegance to the 
plainest room. It needs no decoration, and will collect no dust. 

Page 302 shows a fire place draped with Waban: this material is the 
most appropriate for this purpose for several reasons. If one has a hand- 
some mantel which it would be a pity to cover from sight, and yet needs a 
little drapery to ease the room from an effect of stiffness, Waban will 
answer excellently for it ; as it will drape gracefully, without concealing all the 
beauty of the mantel. On the other hand if the mantel is an eyesore it 
will kindly drape and conceal many defects, and take from it the worst 
feature of its ugliness. Four yards will be required to drape a mantel as 
shown in the illustration; and it must be cut in three lengths. Page 306 
illustrates still another use of this material. For a bamboo or brass easel 
no prettier drapery could be conceived. It drapes but does not conceal and 



430 



DAINTY WORK FOR PLEASURE AND PROFIT. 




DRESDEN PLATE DOYLEY. 



DESCRIPTION OF FULL PAGE ILLUSTRATIONS. 431 

therefore perfectly fulfills the mission of drapery fabrics; three yards will 
be necessary to duplicate the drapery shown. 

Throughout the pages of "Dainty Work" attention has been given 
largely to the decorative necessities and consequently bed linen and table 
linen have received a large share of attention. On page 324 is shown one 
of a series of table doyleys. These articles of table luxury offer pretty and 
easy work for many an idle moment, and will prove no tax on either the 
ingenuity or eyesight of the worker. The doyley in question is called the 
"Magnolia" The center is made on fine linen huckabuck; the background 
is darned through each mesh with a single strand of pale green royal floss. 
The flower is outlined lightly with royal floss silk in a creamy white with a 
dash of old pink toward the center of petals. The stem is in green worked 
solid. The edge is crocheted with pale yellow linen floss, size 4. Any 
design for the crochet may be selected that one fancies, but it should not 
be of a character toe heavy. 

Page 322 illustrates the "Maple Leaf" which is exquisitely dainty. The 
leaf is stamped on plain white linen, and outlined around the edges with a 
buttonhole short and long stitch over a German cord No. o, in pale green 
linen floss. The veins should be outlined with the same material, and the 
edge should be crocheted with crochet linen thread No. 50 in cream white. 
The design shown is appropriate and is composed of two patterns shown 
in the chapter on "Knitting and Crochet." 

Page 430 shows the "Dresden" doyley which is stamped on satin 

damask. The edges are outlined over German cord with white linen floss. 

The Dresden flowers are worked in solid Kensington stitch, with pale blue 

and pink linen floss with a bit of brown and green for stems and foliage. 

The lace is crocheted into the edge of doyley — following the indentations — 

with pale, blue linen floss No. 4. The picots forming the very edge of 

design will be more effective if another shade of blue, one tone deeper than 

that for the inside part of design, be used, or, a combination of blue and 

white, or pink and white would be artistic, while pure white is always in 

good taste. 

COLORED PLATES. 

Several colored plates have been prepared to further illustrate the sub- 
ject of color work, and below are the palettes for painting them in oil col- 



432 DAINTY WORK FOR PLEASURE AND PROFIT 




DRAPED CUPBOARD. 



DESCRIPTION OF FULL PAGE ILLUSTRATIONS. 433 

ors. The plates will serve as "studies," and they may be enlarged or not as 
desired. The author is indebted to an artist friend for the following palettes- 
Palettes for Painting in Oil. 

The ground for flower painting should be of a creamy white tint, other- 
wise most of the colors must be made opaque by the admixture of white, to 
cover the tintbeneath; and with the loss of transparency, from the use of 
opaque colors throughout the darks and shadows, comes also that of depth 
and richness in tone. This is as true of a background as of a flower. 

For backgrounds make gray by combining a little of each, rose mad- 
der or vermilion, cobalt blue and yellow ocher with a good deal of white 
and a very little black. By varying the proportions of colors your gray 
will be bluish, greenish, yellowish, or of whatever tone you wish, and eith- 
er light or dark, as you choose. 

For greens, make with blue and yellow, or use any green you have, 
modifying with raw umber, burnt sienna, black, red, or white, as needed. 
Lay the tints where they belong, then blend softly to unite their edges. 
Let them dry well before putting in the final markings, for which use a 
fine pointed brush, held upright. This rule applies to all the crisp, delicate 
lines or dots in leaves, stems or flowers. 

Fleur de lis. — Mix rose madder or madder lake and cobalt blue 
for purple. If you have a creamy white ground to paint on lay in all the 
darker tints, some a little reddish, some bluish, and others darkened with a 
touch of black, before using any white. Then mix white with any of the 
tints already made, using much or little as needed. Match the tints in the 
copy, laying them side by side, each in its place, and leave them untouched 
until you have finished a flower. Then blend slightly with a dry bristle 
brush, just enough to soften the edges of tints together and to break the 
lines of brush-marks. 

Lay in the white flower and bud with a gray made by adding a little 
black to white, using a tint with more black in to shade with. For the 
highlights make a creamy tint by adding a little yellow ocher to white. 

Make background as illustrated; or one of light yellowish gray for the 
upper part, shading down into dark reddish brown at the bottom, is very 
effective. 



434 



DAINTY WORK FOR PLEASURE AND PROFIT. 



Oranges. — Draw in with burnt sienna. Pale, deep and orange cami- 
um, with any of the browns mentioned above, may be used; or any bright 
yellow with vermilion added in the orange parts and white in the high- 
lights, will give the desired orange tints, to be shaded with brown. 

Poppies. — These can be painted at once with vermilion, rose madder, 
white and brown. But much more transparency and beauty of coloring 
will be secured by following the method given for the lilies. First, then, a 
bright yellow over all except the white or pale pink parts of the red pop- 
pies, and when thoroughly dry paint in the reds and browns. Paint the 
white poppy with gray of black and white, modeling with the same, as for 
fleur de lis, then touch in the other tints. 

To darken the lower part of the background add a little brown to your 
background gray. 

Oak Leaves, Sumac and Golden Rod. — Paint the reds in this plate 
of autumn glory as described for lilies and poppies. Add a touch of burnt 
sienna or brown, and white if needed, to gray for grasses and stems or 
golden rod. For golden rod use any bright yellow and white, with toucn 
of black: when dry, dot in the delicate touches of color. The strong finai 
markings in the sumac **beds" and oak leaves will require bone brown. 




CHAPTER XIX. 



SPECIAL ILLUSTRATIONS. 



"TpHE FOLLOWING pages show a few dainty household novelties 
' that will prove a veritable gold mine to the teacher or dealer 
in decorative work if properly followed. 





CORNERS FOR BREAKFAST DOYLEYS. 



436 DAINTY WORK FOR PLEASURE AND PROFIT 




FIVE-O-CLOCK TEA CLOTHS. 



The Tea Cloth shown here is made of fine round-thread linen. The 
edge is finished with a fringe, and each of the four corners should have the 
design shown repeated. The arrangement shown in the illustration may be 
reversed, if desired; that is, the bow of ribbon may be at the bottom instead 
of at the top. It is a matter of choice. The stitch used should be solid 
Kensington for the flowers and foliage, outline for the stems, and button- 
hole point stitch for the ribbon, which may be green or white. 

The figures shown on page 435 are suitable for corners of breakfast 
napkins or doyleys, and will look well worked out with outline, short and 
long stitch, or solid stitch; or a combination of the three would be quite 
effective. 



SPECIAL ILLUSTRATIONS. 



437 




THREE-PANEL SCREEN. 

This screen is decorated with a design especially adapted for painting. 
The frame offers a good suggestion. Any ordinary carpenter can make it, 
and common pine, free from knots and blemishes, will answer. The orna- 
ments shown near the top can be purchased for a trifling sum from any 
wood-working shop. After the frame has been put together treat with two 
coats of ivory-white English enamel. The panels in the top should have a 
thick coating of copal varnish; while wet sprinkle thickly with broken bits 
of colored glass, and treat the whole, when dry. with a coat of varnish. 
The panels may be painted on sea-grass matting or on canvas. 



438 DAINTY WORK FOR PLEASURE AND PROFIT. 




BUTTERFLY CENTER CLOTH AND DOYLEYS. 

Raised butterfly decorations are much used on center clotlis and doy- 
leys. The above illustration should have the edges scalloped and worked 
in buttonhole stitch. The spray on which rests the butterfly should be 
worked in one color, in solid satin and outline stitches. The butterfly 
should then be worked on the flat in seed, outline and dot stitches, with the 
cloth cut away around the edges of the wing, after the manner of Roman 
embroidery. The two wings shown on the side of illustration should then 
be worked on a separate piece of linen, cut out and attatched to the body 
with an overcast stitch. The body of the butterfly should be worked last, 
in a heavy satin stitch. The two applied wings will stand up from the cloth, 
giving the appearance of a butterfly just alighting. These arrangements 
may be varied to suit individual taste. A flight of the pretty little insects, 
of different sizes, may be arranged with pleasing effect. 



SPECIAL ILLUSTRATIONS. 



439 




LOUIS XIV DESIGN. 



These designs are having a great revival of popular favor. They are 
exquisitely dainty, and may be applied to almost any article. The illustra- 
tion above is a border for doyley or center cloth. For center cloth it should 
be enlarged five times, while the size illustrated is correct for the doyle)'. 
The work should be solid except the ribbon, which may be done in any 
fancy stitch preferred. 



440 DAINTY WORK FOR PLEASURE AND PROFIT. 




CENTER CLOTH. 

The design shown here is very effective, and simple to work. The 
material should be fine linen. The pointed scallops look best worked very- 
heavy in buttonhole stitch, with white linen floss. The ribbon should be 
worked with a delicate lily green, in buttonhole point stitch; the violets in 
three shades of purple linen floss, size 8, in Kensington or satin stitch. 



SPECIAL ILLUSTRATIONS. 



441 




BED SPREADS.-FIG. 1. 

The beds shown on this and succeeding page are covered with spreads 
made of Roman twill linen, decorated with designs that should be worked 
in outline and solid embroidery. Figure i has the extreme edges worked 
in scallops with heavy buttonhole stitch, with white linen floss. The 
design in the center is also outlined with a scalloped edge, worked in the 
same manner. The scroll above the border edge is effective worked in 
white rope linen, in a heavy cording outline stitch. The ferns in the cor- 
ner should be worked solid in two shades of green linen floss, size 8. The 
ferns in the center should also be worked in the same manner, and the 
knots of ribbon should be outlined with white. The same treatment should 
be carried out on shams. 

Figure 2 shows a bed spread with a spread having a garland of tiny 
flowers arranged as an all-round border. The edge of spread should be 
worked with buttonhole stitch in scallops, and the garlands in natural color 
of linen floss size 8; for the small flowers and foliage use satin stitch; for 
the ribbon, simple outline stitch, filling in with a row of darning stitches if 
desired. The designs shown on this spread are very popular, and are 
being applied to many uses. 



442 



DAINTY WORK FOR PLEASURE AND PROFIT. 




BEDSPREAD-FIG. 2. 



There are many different methods of decorating bed spreads. The 
two given will, however, serve as a guide and stimulus to invention. The 
work must be done with exceeding neatness, and the design and coloring 
selected with the utmost care. Very good effects may be obtained with 
outline stitch alone, when, of course, the work is reduced to a simple prob- 
lem of exactness in taking the stitches. For outline work the design 
should be selected with reference to the treatment; flowing lines and bold 
outlines being necessary to get a truly artistic effect. 



SPECIAL ILLUSTRATIONS. 



443 




ROSE CENTER CLOTH. 

The beautiful design shown above is for center cloth, and should be 
wrought out in pale pinks, three shades, one shade yellow for center, three 
shades green for leaves and stems; either pink, green, white or yellow may 
be used for the ribbons. Solid Kensington and outline stitches look best 
on this design. Enlarge four times for correct working size. 



444 DAINTY WORK FOR PLEASURE AND PROFIT. 




BUTTERCUPS. 



VIOLETS. 




DAISIES. FORGET-ME-NOTS. 

DOYLEYS. 

The four pretty designs for doyleys shown here are one-half the cor- 
rect working size. The doyleys should be made on fine white linen, and 
the work done in solid Kensington and outline stitches. The effect is also 
good when silk bolting is used in place of the linen. 



L'ENVOI. 

The sum of human happiness lies in the words "Home making, Home 
keeping." A home well made, well kept, well guarded is as near paradise 
as any earthly thing may be, and should be the subject of greatest impor- 
tance in a woman's life from the hour she pronounces the fateful "I will" to 
the one in which she yields up her charge and joins the "throng innumer- 
able." 

The woman who can combine the practical necessary with the decora- 
tive necessary, so as to preserve a true balance, is indeed happily endowed, 
and blessed is the man who calls her "helpmeet." A man is greatly 
indebted to his home environment and influence for his self-respect or 
lack of that element. This is also true of children from the hour in which 
they enter the school room and mix with their kind, to the day when they 
go out into that larger world to win their place in the plan universal. 

The man does not live, however insensible to elegance in the abstract, 
but feels a thrill of pride, experiences a feeling of importance, an increased 
seit-respect, as he enters the portals of his home — if that home bears evi- 
dence of thrift, fore-handedness, prosperity. It is his money has procured 
this home for his family — his business sagacity or capacity for earning that 
renders it possible for his wife to have as good — perhaps better — than other 
wives in his circle of acquaintance, and he mentally pats himself on the 
shoulder and says "What a great man am I," perhaps never giving a thought 
to the ways and means adopted by his domestic partner to produce such 
satisfactory results, from too often limited resources; but what matters it 
to the brave little helpmeet. She has done her part in using to the best 
advantage what he has labored to secure, and thus each has performed but 
his and her duty, and neither stands indebted to the other. True it is that 
a word of loving acknowledgement and sympathy is a sweet morsel to any 
woman, coming from the lips of the man she has sought to please by her 
housewifely skill, and to the credit of the 19th century man, be it said, 
that word is seldom withheld. Firmly imbued with the sentiments here 
expressed it has been the aim of the writer, in the pages of "Dainty 
Work," to put within the reach of every woman the knowledge and means 
of rendering beautiful and elegant her home, in whatever position of life she 
may find her lot cast; to give voice to the sentiment that "the beautiful is good 
and the good beautiful", as applied to home making. Whether the task has 
been well or ill done the author must leave to the judgment of an indul- 
gent public. 



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